»  »  »  »^  ^  » 

Please 

handle  this  volume 

with  care. 

The  University  of  Connecticut 
Libraries,  Storrs 

■^  »  »  »  »  »^ 


UCONN  LIBRARIES 
Due  Date:  3/6/2009  05:00  PM 


examples  drawn  fronn  h  ^  own  ^ 
Ri^sky-Korsakow  ,  ec^ted  bV  -^      ^^^^_^  ^^^^^ 

^SSoSrS^S:ia^-ieoB. 

MT70.R62O8  1912 


Copy: 
Item: 


•3915300976864V 


11S3  DD^7bflb^ 


1 


GAYLORD  Re 


PLEASE  NOTE 

It  has  been  necessary  to  replace  some  of  the 
original  pages  in  this  book  with  photocopy 
reproductions  because  of  damage  or 
mistreatment  by  a  previous  user. 

Replacement  of  damaged  materials  is  both 
expensive  and  time-consuming.  Please  handle 
this  volume  with  care  so  that  information  will 
not  be  lost  to  future  readers. 

Thank  you  for  helping  to  preserve  the 
University's  research  collections. 


NICOLAS  RIMSKY-KORSAKOW 

PRINCIPLES 

OF 

ORCHESTRATION 

WITH  MUSICAL  EXAMPLES  DRAWN  FROM  HIS  OWN  WORKS 

EDITED  BY 

MAXIMILIAN  STEINBERG 

ENGLISH  TRANSLATION  BY 

EDWARD  AGATE 


E.  F.  KALMUS  ORCHESTRA  SCORES,  INC. 

209  WEST  57th  STREET 
NEW  YORK,  N.  Y. 


Printed  in  U.  S.  A. 


MUSIC  LIBRARY 

UNIVERSITY  or  COUi^^CTlCUT 

STORRS,  C0.*4N^CriCUT 


rc\T 

no 


CONTENTS 


page 

Editor's  Preface VII— XII 

Extract  from  the  Author's  preface  (1891) 1 

Extract  from  the  Preface  to  the  last  edition 5 

T'hapter  I.  —  General  review  of  orchestral  groups 

A.  String-ed  instruments 6 

B.  Wind  instruments: 

Wood-wind 12 

Brass 21 

C.  Instruments  of  little  sustaining  power: 

Plucked  strings     26 

Pizzicato 27 

Harp 27 

Percussion   instruments   producing  determinate  sounds,    keyed 
instruments 

Kettle-drums , , 29 

Piano  and  Celesta 30 

Glockenspiel,  Bells,  Xylophone 32 

Percussion  instruments  producing  indefinite  sounds 32 

Comparison  of  resonance  in  orchestral  groups,  and  combination  33 

of  different  tone  qualities 

Chapter  II.  —  Melody 

Melody  in  stringed  instruments 36 

Grouping  in  unison 39 

Stringed  instruments  doubling  in  octaves 40 

Melody  in  double  octaves 44 

«4                            Doubling  in  three  and  four  octaves 45 

fX                           Melody  in  thirds  and  sixths 45 

Melody  in  the  wood-wind 46 

~"^                            Combination  in  unison 47 

Combination  in  octaves 49 

Doubling  in  two,  three  and  foiir  octaves     51 

Melody  in  thirds  and  sixths 52 

Thirds  and  sixths  together 53 

Melody  in  the  brass 53 

'^                           Brass  in  unison,  in  octaves,  thirds  and  sixths   .......  55 


IV 

page 

Melody  in  different  groups  of  instruments  combined  together  .  56 

A.  Combination  of  wind  and  brass  in  unison 56 

B.  Combination  of  wind  and  brass  in  octaves 57 

C.  Combination  of  strings  and  wind 58 

D.  Combination  of  strings  and  brass      61 

E.  Combination  of  the  three  groups 61 

Chapter  111.  —  Harmony 

General  observations     63 

Number  of  harmonic  parts  —  Duplication 64 

Distribution  of  notes  in  chords                67 

String  harmony 69 

Wood-wind  harmony      71 

Four-part  and  three-part  harmony 72 

Harmony  in  several  parts 76 

Duplication  of  timbres 77 

Remarks 78 

Harmony  in  the  brass 82 

Four-part  writing 82 

Three-part  writing 84 

Writing  in  several  parts 84 

Duplication  in  the  brass 85 

Harmony  in  combined  groups 88 

A.  Combination  of  wind  and  brass  .   .    .    . 88 

1.  In  unison 88 

2.  Overlaying,  crossing,  enclosure  of  parts 90 

B.  Combination  of  strings  and  wind 94 

C.  Combination  of  the  three  groups 95 

Chapter  IV.  —  Composition  of  the  orchestra 

Different  ways  of  orchestrating  the  same  music 97 

Full  Tutu 101 

Tutti  in  the  wind 103 

Tuiti  pizzicato 103 

Tutti  in  one,  two  and  three  parts 104 

Soli  in  the  strings 104 

Limits  of  orchestral  range 106 

Transference  of  passages  and  phrases 107 

Chords  of  different  tone  quality  used  alternately 108 

Amplification  and  elimination  of  tone  qualities 109 

Repetition  of  phrases,  imitation,  echo 110 

Sforzando-piano  and  piano- sf or zando  chords HI 

Method  of  emphasising  certain  notes  and  chords Ill 

Crescendo  and  diminuendo 112 

Diverging  and  converging  progressions 113 

Tone  quality  as  a  harmonic  force.    Harmonic  basis  114 

Artificial  effects 116 

Use  of  percussion  instruments  for  rhythm  and  colour     ....  117 

Economy  in  orchestral  colour 118 


V 

page 
Chapter  V.  —  Combination  of  the  human  voice  with  orchestra. 
The  Stage  band 

Orchestral  accompaniment  of  solo  voices 119 

General  remarks 119 

Transparence  of  accompaniment.     Harmony 120 

Doubling  voices  in  the  orchestra 122 

Recitative  and  declamation 125 

Orchestral  accompaniment  of  the  chorus 126 

Solo  voice  with  chorus 128 

Instruments  on  the  stage  and  in  the  wings 129 

Chapter  VI  (Supplementary)  —  Voices 

Technical  terms 132 

Soloists 133 

Range  and  register 133 

Vocalisation 134 

Vowels 136 

Flexibility 137 

Colour  and  character  of  voices 137 

Voices  in  combination 139 

Duet 139 

Trio,  quartet  etc 139 

Chorus 142 

Range  and  register 142 

Melody 144 

A.  Mixed  chorus      145 

Chorus,  in  unison 145 

Progression  in  octaves 145 

Voices  divisi;  harmonic  use  of  the  mixed  chorus 146 

B.  Men's  chorus  and  Women's  chorus 148 


ST0RI»» 


Editor's  Preface. 


Rimsky-Korsakov  had  long  been  engrossed  in  his  treatise  on 
orchestration.  We  have  in  our  possession  a  thick  note  book  of 
some  200  pages  in  fine  hand  writing,  dating  from  the  years 
1873—1874,  containing  a  monograph  on  the  question  of  acoustics, 
a  classification  of  wind  instruments  and  a  detailed  description  of 
the  construction  and  fingering  of  the  different  kinds  of  flute,  the 
oboe,  clarinet  and  horn.  (1) 

In  his  "Memoirs  of  my  musical  life"  (li*  edition,  p.  120)  the 
following  passage  occurs:  "1  had  planned  to  devote  all  my  energies 
to  the  compilation  of  a  full  treatise  on  orchestration.  To  this  end 
I  made  several  rough  copies,  jotting  down  explanatory  notes  detailing 
the  technique  of  different  instruments.  What  1  intended  to  present  to 
the  world  on  this  subject,  was  to  include  everything.  The  writing 
of  this  treatise,  or,  to  be  more  exact,  the  sketch  for  it  took  up 
most  of  my  time  in  the  years  1873  and  1874.  After  reading  the 
works  of  Tyndall  and  Helmholtz,  1  framed  an  introduction  to  my 
work,  in  which  I  endeavoured  to  expound  the  laws  of  acoustics 
as  applied  to  the  principles  governing  the  construction  of  musical 
instruments.  My  manual  was  to  begin  with  a  detailed  list  of 
instruments,  classified  in  groups  and  tabulated,  including  a  de- 
scription of  the  various  systems  in  use  at  the  present  day.  I  had 
not  yet  thought  of  the  second  part  of  the  book  which  was  to  be 
devoted  to  instruments  in  combination.  But  1  soon  realised  that 
I  had  gone  too  far.  With  wind  instruments  in  particular,  the 
different  systems  were  innumerable,  and  each  manufacturer  favoured 
his  own  pet  theory.  By  the  addition  of  a  certain  key  the  maker 
endowed  his  instrument  with  the  possibility  of  a  new  trill,  and 

(I)  This  manuscript  was  gfiven  to  me  by  Alexander  Glazounov;  if  a  Rimsky- 
Korsakov  museum  is  ever  founded  it  will  be  placed  there. 


VIII 

made  s^nic  difficult  passages  more  playable  than  on  an  instrument 
of  another  kind.    * 

There  was  no  end  to  such  complications.  In  the  brass,  I  found 
instruments  with  three,  four,  and  five  valves,  the  mechanism 
varying  according  to  the  make.  Obviously,  I  could  not  hope  to 
cover  so  large  a  field;  besides,  of  What  value  would  such  a 
treatise  be  to  the  student?  Such  a  mass  of  detailed  description  of 
the  various  systems,  their  advantages  and  drawbacks,  could  not 
but  fail  to  confuse  the  reader  only  too  eager  to  learn.  Naturally  he 
would  wish  to  know  what  instrument  to  employ,  the  extent  of  its 
capabilities  etc.,  and  getting  no  satisfactory  information  he  would 
throw  my  massive  work  aside.  For  these  reasons  my  interest  in 
the  book  gradually  waned,  and  finally  I  gave  up  the  task." 

In  1891  Rimsky-Korsakov,  now  an  artist  of  standing,  the  com- 
poser of  Snegourotchka,  Mlada,  and  Sheherazade,  a  master  of 
the  orchestral  technique  he  had  been  teaching  for  twenty  years, 
returned  to  his  handbook  on  instrumentation.  He  would  seem  to 
have  made  notes  at  different  times  from  1891  to  1893,  during 
which  period,  after  the  first  performance  of  Mlada,  he  gave  up 
composition  for  a  while.  These  notes,  occasionally  referred  to 
in  his  Memoirs,  are  in  three  volumes  of  manuscript-paper.  They 
contain  the  unfinished  preface  of  1891,  a  paragraph  full  of  clear, 
thoughtful  writing,  and  reprinted  in  this  book.  (1) 

As"  the  author  tells  us  in  his  Memoirs  (p.  297),  the  progress  of 
his  work  was  hampered  by  certain  troublesome  events  which 
were  happening  at  the  time.  Dissatisfied  with  his  rough  draft,  he 
destroyed  the  greater  part  of  it,  and  once  more  abandoned  his  task. 

In  1894  he  composed  The  Christmas  Night;  this  was  the 
beginning  of  his  most  fertile  period.  He  became  entirely  engrossed 
in  composition,  making  plans  for  a  fresh  opera  as  soon  as  the 
one  in  hand  was  completed.  It  was  not  until  1905  that  his 
thoughts  returned  to  the  treatise  on  orchestration,  his  musical 
output  remaining  in  abeyance  through  no  fault  of  his  own.  Since 
1891  the  plan  of  the  work  had  been  entirely  remodelled,  as 
proved  by  the  rough  drafts  still  extant.  The  author  had  given  up 
the  idea  of  describing  different  instruments  from  their  technical 


(1)  This  preface  had  already  been  published  in  his  Notes  and  Articles  on 
Music  (St.  Petersburgh,  1911). 


IX 

standpoint,  and  was  more  anxious  to  dwell  upon  the  value  of 
tone  qualities  and  their  various  combinations. 

Among  the  author's  papers  several  forms  of  the  book  have  been 
found,  each  widely  differing  in  detail  from  the  other.  At  last,  in 
the  summer  of  1905  Kimsky-Korsakov  brought  his  plans  to  a 
head,  and  outlined  the  six  chapters  which  form  the  foundation  of 
the  present  volume.  But  the  work  suffered  a  further  interruption, 
and  the  sketches  were  once  more  laid  aside.  In  his  Memoirs, 
Rimsky-Korsakov  explains  the  fact  by  lack  of  interest  in  the  work 
and  a  general  feeling  of  weariness:  "The  treatise  remained  in 
abeyance.  To  start  with,  the  form  of  the  book  was  not  a  success, 
and  I  awaited  the  production  of  Kitesh,  in  order  to  give  some 
examples  from  that  work"  (p.  360). 

Then  came  the  autumn  of  1906.  The  composer  experienced 
another  rush  of  creative  energy;  his  opera.  The  Golden  Cockerel 
made  rapid  strides,  and  kept  him  busy  all  that  winter  and  the 
following  summer.  When  it  was  finished,  in  the  autumn  of  1907, 
his  thoughts  reverted  to  the  treatise  on  orchestration.  But  the 
work  made  little  progress.  The  author  had  his  doubts  as  to  the 
adequacy  of  the  plan  he  had  adopted,  and,  in  spite  of  the  entreaties 
of  his  pupils  and  friends,  he  could  not  bring  himself  to  broach 
the  latter  part  of  the  book.  Towards  the  end  of  1907  Rimsky- 
Korsakov  was  constantly  ailing  in  health,  and  this  materially 
affected  his  energy.  He  spent  the  greater  part  of  his  time  reading 
old  notes  and  classifying  examples.  About  the  20*li  of  May  he 
set  out  for  his  summer  residence  in  Lioubensk,  and  having  just 
recovered  from  a  third  severe  attack  of  inflammation  of  the  lungs, 
began  to  work  on  the  first  chapter  of  the  treatise  in  its  present, 
final  form.  This  chapter  was  finished  on  June  7/20,  about  4  o'clock 
in  the  afternoon;  the  same  night,  the  composer  was  seized  with  a 
fourth  attack  which  proved  fatal. 

The  honour  fell  on  me  to  prepare  this  last  work  of  Rimsky- 
Korsakov  for  publication.  Now  that  Principles  of  Orchestration 
has  appeared  in  print  I  think  it  necessary  to  devote  a  few  words 
to  the  essential  features  of  the  book,  and  to  the  labour  imposed 
upon  me  in  my  capacity  as  editor. 

On  the  first  point  I  will  say  but  little.  The  reader  will  observe 
from  the  Contents  that  the  work  differs  from  others,  not  merely  by 


reaston  of  its  musical  examples,  but  more  especially  in  the  systematic 
arrangement  of  material,  not  according  to  orchestral  division  in 
groups  (the  method  adopted  by  Gevaert  for  instance),  but  accord- 
ing to  each  constituent  of  the  musical  whole,  considered  separately. 
The  orchestration  of  melodic  and  harmonic  elements  (Chapters  II 
and  III)  receives  special  attention,  as  does  the  question  of  orches- 
tration in  general  (Chapter  IV).  The  last  two  chapters  are  devoted 
to  operatic  music,  and  the  sixth  takes  a  supplementary  form, 
having  no  direct  bearing  on  the  previous  matter. 

Rimsky-Korsakov  altered  the  title  of  his  book  several  times,  and 
his  final  choice  was  never  made.  The  title  I  have  selected  seems 
to  me  to  be  the  one  most  suitable  to  the  contents  of  the  work,  "prin- 
ciples" in  the  truest  sense  of  the  word.  Some  may  expect  to  find 
the  "secrets"  of  the  great  orchestrator  disclosed;  but,  as  he  himself 
reminds  us  in  his  preface,  "to  orchestrate  is  to  create,  and  this  is 
something  which  cannot  be  taught." 

Yet,  as  invention,  in  all  art,  is  closely  allied  to  technique,  this 
book  may  reveal  much  to  the  student  of  instrumentation.  Rimsky- 
Korsakov  has  often  repeated  the  axiom  that  good  orchestration 
means  proper  handling  of  parts.  The  simple  use  of  tone-colours 
and  their  combinations  may  also  be  taught,  but  there  the  science  of 
instruction  ends.  From  these  standpoints  the  present  book  will 
furnish  the  pupil  with  nearly  everything  he  requires.  The  author's 
death  prevented  him  from  discussing  a  few  questions,  amongst 
which  I  would  include  full  polyphonic  orchestration  and  the 
scoring  of  melodic  and  harmonic  designs.  But  these  questions 
can  be  partly  solved  by  the  principles  laid  down  in  Chapters  II 
and  III,  and  I  have  no  wish  to  overcrowd  the  first  edition  of  this 
book  with  extra  matter  which  can  be  added  later,  if  it  is  found 
to  be  necessary.  I  had  first  of  all  to  prepare  and  amplify  the 
sketches  made  by  Rimsky-Korsakov  in  1905;  these  form  a  connected 
summary  throughout  the  whole  six  chapters.  Chapter  I  was  com- 
pleted by  the  author;  it  is  published  as  it  stands,  save  for  a  few 
unimportant  alterations  in  style.  As  regards  the  other  five  chap- 
ters, I  have  tried  to  keep  to  the  original  drafts  as  far  as  possible, 
and  have  only  made  a  few  changes  in  the  order,  and  one  or  two 
indispensable  additions.  The  sketches  made  between  1891  and 
1893  were  too   disconnected   to   be   of   much  use,  but,  in  point 


XI 

of  fact,  they  corresponded  very  closely  to  the  final  form  of 
the  work. 

The  musical  examples  are  of  greater  importance.  According  to 
the  original  scheme,  as  noted  on  the  1891  MS.,  they  were  to  be 
drawn  from  the  works  of  Glinka  and  Tschaikovsky;  those  of 
Borodin  and  Glazounov  were  to  be  added  later.  The  idea  of 
choosing  examples  solely  from  his  own  works  only  came  to 
Rimsky-Korsakov  by  degrees.  The  reasons  for  this  decision  are 
partly  explained  in  the  unfinished  preface  of  1905,  but  other 
motives  may  be  mentioned.  If  Rimsky-Korsakov  had  chosen  his 
examples  from  the  works  of  these  four  composers,  he  would  have 
had  to  give  some  account  of  their  individual,  and  often  strongly 
marked  peculiarities  of  style.  This  would  have  been  a  difficult 
undertaking,  and  then,  how  to  justify  the  exclusion  of  West-Eu- 
ropean composers,  Richard  Wagner,  for  example,  whose  orches- 
tration Rimsky-Korsakov  so  greatly  admired?  Besides,  the  latter 
could  hardly  fail  to  realise  that  his  own  compositions  afforded 
sufficient  material  to  illustrate  every  conceivable  manner  of  scoring, 
examples  emanating  frorfl  one  great  general  principle.  This  is  not 
the  place  to  criticise  his  method;  RimsT^y-Korsakov's  "school"  is 
here  displayed,  each  may  examine  it  for  himself.  The  brilliant, 
highly-coloured  orchestration  of  Russian  composers,  and  the  scoring 
of  the  younger  French  musicians  are  largely  dev^opments  of  the 
methods  of  Rimsky-Korsakov,  who,  in  turn,  looked  upon  Glinka 
as  his  spiritual  father. 

The  table  of  examples  found  among  the  author's  papers  was  far 
from  complete;  some  portions  were  badly  explained,  others,  not  at 
all.  The  composer  had  not  mentioned  which  musical  quotations 
were  to  be  printed  in  the  second  volume,  and  which  examples 
were  to  indicate  the  study  of  the  full  score,  further,  no  limit  was 
fixed  to  the  length  of  quotation.  All  this  was  therefore  left  to  the 
editor's  discretion.  I  selected  the  examples  only  after  much  doubt 
and  hesitation,  finding  it  difficult  tp  keep  to  those  stipulated  by  the 
composer,  as  every  page  of  the  fnaster's  works  abound  in  appro- 
priate instances  of  this  or  that  method  of  scoring. 

I  was  guided  by  the  following  considerations  which  agreed 
with  the  opinions  of  the  author  himself:  in  the  first  place  the 
examples  should  be  as  simple  as  possible,  so  as  not  to  distract 


XII 

the  student's  attention  from  the  point  under  discussion;  secondly, 
it  was  necessary  that  one  example  should  serve  to  illustrate  several 
sections  of  the  book,  and  lastly,  the  majority  of  quotations  should  be 
those  mentioned  by  the  author.  These  amount  to  214,  in  the  second 
volume;  the  remaining  98  were  added  by  me.  They  are  drawn,  as  far 
as  possible,  from  Rimsky-Korsakov's  dramatic  music,  since  operatic 
full-scores  are  less  accessible  than  those  of  symphonic  works. 

At  the  end  of  Vol.  II  I  have  added  three  tables  showing  diffe- 
rent ways  of  scoring  full  chords;  all  my  additions  to  the  text  are 
marked  with  asterisks.  I  consider  that  the  careful  study  of  the 
examples  contained  in  the  second  volume  will  be  of  the  greatest 
use  to  the  student  without  replacing  the  need  for  the  study  of  other 
composers'  scores.  Broadly  speaking,  the  present  work  should 
be  studied   together  with   the   reading  of  full  scores  in  general. 

A  few  words  remain  to  be  said  regarding  Rimsky-Korsakov's 
intention  to  point  out  the  faulty  passages  in  his  orchestral  works, 
an  intention  expressed  in  his  preface  to  the  last  edition.  The 
composer  often  referred  to  the  instructional  value  of  such  exami- 
nations. His  purpose  however  was  never  achieved.  It  is  not  for  me 
to  select  these  examples,  and  1  shall  only  mention  two  which  were 
pointed  out  by  the  composer  himself:  1.  The  Legend  of  Tsar  Saltan 
71ii  bar— the  theme  in  the  brass  is  not  sufficiently  prominent 


220 


the   trombones   being   tacet  (a   mistake   easily  rectified);   2.    The 


Golden  Cockerel  233  ,  bars  10 — 14,  if  the  marks  of  expression  are 
observed  in  the  brass,  the  counter- melody  on  the  violas  and 
violoncellos  doubled  by  the  wood-wind  will  hardly  be  heard. 
Example  75  may  also  be  mentioned,  to  which  the  note  on  page  63, 
in  the  text,  refers.    I  will  confine  myself  to  these  examples. 

In  conclusion  I  desire  to  express  my  deep  gratitude  to  Madame 
Rimsky-Korsakov  for  having  entrusted  me  with  the  task  of  editing 
this  work,  thereby  providing  me  with  the  opportunity  of  performing  a 
duty  sacred  to  the  memory  of  a  master,  held  so  deeply  in  reverence. 

St.  Peter sburgh,  December  1912. 

MAXIMILIAN  STEINBERG. 


Extract  from  the  Author's  Preface  (1891). 


Our  epoch,  the  post-Wagnerian  age,  is  the  age  of  brilliahce  and 
imaginative  quality  in  orchestral  tone  colouring.  Berlioz,  Glinka, 
Liszt,  Wagner,  modern  french  composers — Delibes,  Bizet  and 
others;  those  of  the  new  russian  school  —  Borodin,  Balakirev, 
Glazounov  and  Tschaikovsky — have  brought  this  side  of  musical 
art  to  its  zenith;  they  have  eclipsed,  as  colourists,  their  prede- 
cessors, Weber,  Meyerbeer  and  Mendelssohn,  to  whose  genius, 
nevertheless,  they  are  indebted  for  their  own  progress.  In  writing 
this  book  my  chief  aim  has  been  to  provide  the  well-informed 
reader  with  the  fundamental  principles  of  modern  orchestration 
from  the  standpoint  of  brilliance  and  imagination,  and  I  have 
devoted  considerable  space  to  the  study  of  tonal  resonance  and 
orchestral  combination. 

1  have  tried  to  show  the  student  how  to  obtain  a  certain  quality 
of  tone,  how  to  acquire  uniformity  of  structure  and  requisite  power. 
I  have  specified  the  character  of  certain  melodic  figures  and 
designs  peculiar  to  each  instrument  or  orchestral  group,  and 
reduced  these  questions  briefly  and  clearly  to  general  principles; 
in  short  I  have  endeavoured  to  furnish  the  pupil  with  matter  and 
material  as  carefully  and  minutely  studied  as  possible.  Never- 
theless I  do  not  claim  to  instruct  him  as  to  how  such  information 
should  be  put  to  artistio  use,  nor  to  establish  my  examples  in 
their  rightful  place  in  the  poetic  language  of  music.  For,  just  as 
a  handbook  of  harmony,  counterpoint,  or  form  presents  the  student 
with  harmonic  or  polyphonic  matter,  principles  of  construction, 
formal  arrangement,  and  sound  technical  methods,  but  will  never 
endow  him  with  the  talent  for  composition,  so  a  treatise  on  or- 
chestration can  demonstrate  how  to  produce  a  well-sounding  chord 

1 


—     2    — 

of  certain  tone-quality,  uniformly  distributed,  how  to  detach  a 
melody  from  its  harmonic  setting,  correct  progression  of  parts, 
and  solve  all  such  problems,  but  will  never  be  able  to  teach  the 
art  of  poetic  orchestration.  To  orchestrate  is  to  create,  and  this 
is  something  which  cannot  be  taught. 

It  is  a  great  mistake  to  say:  this  composer  scores  well,  or,  that 
composition  is  well  orchestrated,  for  orchestration  is  part  of  the 
very  soul  of  the  work.  A  work  is  thought  out  in  terms  of  the 
orchestra,  certain  tone-colours  being  inseparable  from  it  in  the 
mind  of  its  creator  and  native  to  it  from  the  hour  of  its  birth. 
Could  the  essence  of  Wagner's  music  be  divorced  from  its  orches- 
tration? One  might  as  well  say  that  a  picture  is  well  drawn  in  colours. 

More  than  one  classical  and  modern  composer  has  lacked  the 
capacity  to  orchestrate  with  imagination  and  power;  the  secret  of 
colour  has  remained  outside  the  range  of  his  creative  faculty. 
Does  it  follow  that  these  composers  do  not  know  how  to  orches- 
trate? Many  among  them  have  had  -greater  knowledge  of  the 
subject  than  the  mere  colourist.  Was  Brahms  ignorant  of  orches- 
tration? And  yet,  nowhere  in  his  works  do  we  find  evidence  of 
brilliant  tone  or  picturesque  fancy.  The  truth  is  that  his  thoughts 
did  not  turn  towards  colour;  his  mind  did  not  exact  it. 

The  power  of  subtle  orchestration  is  a  secret  impossible  to  trans- 
mit, and  the  composer  who  possesses  this  secret  should  value  it 
highly,  and  never  debase  it  to  the  level  of  a  mere  collection  of 
formulae  learned  by  heart. 

Here  I  may  mention  the  case  of  works  scored  by  others  from 
the  composer's  rough  directions.  He  who  undertakes  such  work 
should  enter  as  deeply  as  he  may  into  the  spirit  of  the  composer, 
try  to  realise  his  intentions,  and  develop  them  in  all  their  essential 
features. 

Though  one's  own  personality  be  subordinate  to  that  of  another, 
such  orchestration  is  nevertheless  creative  work.  But  on  the  other 
hand,  to  score  a  composition  never  intended  for  the  orchestra,  is 
an  undesirable  practice.  Many  musicians  have  made  this  mistake 
and  persist  in  it.  (1)     In  any  case  this  is  the  lowest  form  of  in- 


(1)  In  the  margin  of  the  MS.  a  question  mark  is  added  here. 

(Editor's  note.) 


—     3    — 

strumentation,  akin  to  colour  photography,  though  of  course  the 
process  may  be  well  or  badly  done. 

As  regards  orchestration  it  has  been  my  good  fortune  to  belong 
to  a  first-rate  school,  and  I  have  acquired  tha  most  varied  ex- 
perience. In  the  first  place  I  have  had  the  opportunity  of  hearing 
all  my  works  performed  by  the  excellent  orchestra  of  the  St.  Peters- 
burgh  Opera.  Secondly,  having  experienced  leanings  towards 
different  directions,  I  have  scored  for  orchestras  of  different  sizes, 
beginning  with  simple  combinations  (my  opera  The  May  Night 
is  written  for  natural  horns  and  trumpets),  and  ending  with  the 
most  advanced.  In  the  third  place,  I  conducted  the  choir  of  the 
Military  Marine  for  several  years  and  was  therefore  able  to  study 
wind-instruments.  Finally  I  formed  an  orchestra  of  very  young 
pupils,  and  succeeded  in  teaching  them  to  play,  quite  competently, 
the  works  of  Beethoven,  Mendelssohn,  Glinka,  etc.  All  this  has 
enabled  me  to  present  this  work  to  the  public  as  the  result  of 
long  experience. 

As  a  starling-point  I  lay  down  the  following  fundamental  axioms: 
I.  In  the  orchestra  there  is  no  such  thing _^as  ugly  quality  of  tone. 

II.  Orchestral  writing  should  be  easy  to  play;  a  composer's 
work  stands  the  best  chance  when  the  parts  are  well  written.  (1) 

III.  A  work  should  be  written  for  the  size  of  orchestra  that  is  to 
perform  it,  not  for  some  imaginary  body,  as  many  composers 
persist  in  doing,  introducing  brass  instruments  in  unusual  keys 
upon  which  the  music  is  impracticable  because  it  is  not  played 
in  the  key  the  composer  intends. 

It  is  difficult  to  devise  any  method  of  learning  orchestration 
without  a  master.  As  a  general  rule  it  is  best  to  advance  by 
degrees  from  the  simplest  scoring  to  the  most  complicated. 

The  student  will  probably  pass  through  the  following  phases:  1.  the 
phase  during  which  he  puts  his  entire  faith  in  percussion  instru- 


(1)  A.  Glazounov  has  well  expressed  the  various  degrees  of  excellence  in 
scoring-,  which  he  divides  into  three  classes:  1.  When  the  orchestra  sounds 
well,  playing  from  sight;  magnificent,  after  a  few  rehearsals.  2.  When  effects 
cannot  be  brought  off  except  with  the  greatest  care  and  attention  on  the  part 
of  conductor  and  players.  3.  When  the  orchestra  never  sounds  well.  Evi- 
dently the  chief  aim  in  Orchestration  is  to  obtain  the  first  of  these  results. 

(Author's  note.) 
1* 


—     4     — 

ments,  believing  that  beauty  of  sound  emanates  entirely  from  this 
branch  of  the  orchestra — this  is  the  earliest  stage;  2.  the  period 
when  he  acquires  a  passion  for  the  harp,  using  it  in  every  possible 
chord;  3.  the  stage  during  which  he  adores  the  wood-wind  and 
horns,  using  stopped  notes  in  conjunction  with  strings,  muted  or 
pizzicato;  4.  the  more  advanced  period,  when  he  has  come  to 
recognise  that  the  string  group  is  the  richest  and  most  expressive 
of  all.  When  the  student  works  alone  he  must  try  to  avoid  the 
pitfalls  of  the  first  three  phases.  The  best  plan  is  to  study  full- 
scores,  and  listen  to  an  orchestra,  score  in  hand.  But  it  is  diffi- 
cult to  decide  what  music  should  be  studied  and  heard.  Music 
of  all  ages,  certainly,  but,  principally,  that  which  is  fairly  modern. 
Fairly  modern  music  will  teach  the  student  how  to  score — classical 
music  will  prove  of  negative  value  to  him.  Weber,  Mendelssohn, 
Meyerbeer  (The  Prophet),  Berlioz,  Glinka,  Wagner,  Liszt,  and 
modern  French  and  Russian  composers — these  will  prove  his  best 
guides.  It  is  useless  for  a  Berlioz  or  a  Gevaert  to  quote  examples 
from  the  works  of  Gluck.  The  musical  idiom  is  too  old-fashioned 
and  strange  to  modern  ears;  such  examples  are  of  no  further  use 
today.  The  same  may  be  said  of  Mozart  and  of  Haydn  (the  father 
of  modern  orchestration). 

The  gigantic  figure  of  Beethoven  stands  apart.  His  music 
abounds  in  countless  leonine  leaps  of  orchestral  imagination,  but 
his  technique,  viewed  in  detail,  remains  much  inferior  to  his 
titanic  conception.  His  use  of  the  trumpets,  standing  out  above 
the  rest  of  the  orchestra,  the  difficult  and  unhappy  intervals  he 
gives  to  the  horns,  the  distinctive  features  of  the  string  parts  and 
his  often  highly- coloured  employment  of  the  wood-wind,— these 
features  will  combine  causing  the  student  of  Beethoven  to  stumble 
upon  a  thousand  and  one  points  in  contradiction. 

It  is  a  mistake  to  think  that  the  beginner  will  light  upon  no  simple 
and  instructive  examples  in  modern  music,  in  that  of  Wagner  and 
others.  On  the  contrary,  clearer,  and  better  examples  are  to  be 
found  amongst  modern  composers  than  in  what  is  called  the 
range  of  classical  music. 


—    5    — 
Extract  from  the  Preface  to  the  last  edition. 


My  aim  in  undertaking  this  work  is  to  reveal  the  principles  of 
modern  orchestration  in  a  somewhat  different  light  than  that 
usually  brought  to  bear  upon  the  subject.  I  have  followed  these 
principles  in  orchestrating  my  own  works,  and,  wishing  to  impart 
some  of  my  ideas  to  young  composers,  I  have  quoted  examples 
from  my  own  compositions,  or  given  references  to  them,  en- 
deavouring to  show,  in  all  sincerity,  what  is  successful  and  what 
is  not.  No  one  can  know  except  the  author  himself  the  purpose 
and  motives  which  governed  him  during  the  composition  of  a 
certain  work,  and  the  practice  of  explaining  the  intentions  of  a 
composer,  so  prevalent  amongst  annotators,  however  reverent  and 
discreet,  appears  to  me  far  from  satisfactory.  They  will  attribute 
a  too  closely  philosophic,  or  excessively  poetic  meaning  to  a  plain 
and  simple  fact.  Sometimes  the  respect  which  great  composers' 
names  command  will  cause  inferior  examples  to  be  quoted  as 
good;  casfco  of  carelessness  or  ignorance,  easily  explained  by  the 
imperfections  of  current  technique,  give  rise  to  whole  pages  of 
laborious  exposition,  in  defence,  or  even  in  admiration  of  a  faulty 
passage. 

This  book  is  written  for  those  who  have  already  studied  instru- 
mentation from  Gevaert's  excellent  treatise,  or  any  other  well-known 
manual,  and  who  have  some  knowledge  of  a  number  of  orches- 
tral scores. 

I  shall  therefore  only  just  touch  on  such  technical  questions  as 
fingering,  range,  emission  of  sound  etc.  (1) 

The  present  work  deals  with  the  combination  of  instruments  in 
separate  groups  and  in  the  entire  orchestral  scheme;  the  different 
means  of  producing  strength  of  tone  and  unity  of  structure;  the 
sub-division  of  parts;  variety  of  colour  and  expression  in  scoring, 
— the  whole,  principally  from  the  standpoint  of  dramatic  music. 


(1)  A  short  review  of  these  various  questions  forms  the  first  chapter  of  the 
book.  (Editor's  note.) 


Chapter  1. 

GENERAL  REVIEW  OF  ORCHESTRAL  GROUPS. 


A.   Stringed  Instruments. 

The  following  is  the  formation  of  the  string  quartet  and  the 
number  of  players  required  in  present  day  orchestras,  either  in  the 
theatre  or  concert-room. 


Full 
orchestra 

Medium 
orchestra 

Small 
orchestra 

Violins  I  .    .    .    . 
»      11  ...    . 

Violas  

Violoncellos      .    . 
Double  basses  .    . 

16 
14 
12 
10 
8-10 

12 
10 

8 

6 
4-6 

8 
6 
4 
3 
2-3 

In  larger  orchestras,  the  number  of  first  violins  may  amount  to 
20  and  even  24,  the  other  strings  being  increased  proportionately. 
Bat  such  a  great  quantity  of  strings  over-powers  the  customary 
wood-wind  section,  and  entails  re-inforcing  the  latter.  Sometimes 
orchestras  contain  less  than  8  first  violins;  this  is  a  mistake,  as 
the  balance  between  strings  and  wind  is  completely  destroyed. 
In  writing  for  the  orchestra  it  is  advisable  to  rely  on  a  medium- 
sized  body  of  strings.  Played  by  a  larger  orchestra  a  work  will 
be  heard  to  greater  advantage;  played  by  a  smaller  one,  the  harm 
done  will  be  minimised. 


—    7    — 

Whenever  a  group  of  strings  is  written  for  more  than  five 
parts — without  taking  double  notes  or  chords  fnto  consideration — 
these  parts  may  be  increased  by  dividing  each  one  into  two,  three 
and  four  sections,  or  even  more  (divisi).  Generally,  one  or  more 
of  the  principal  parts  is  split  up,  the  first  or  second  violins,  violas 
or  violoncellos.  The  players  are  then  divided  by  desks,  numbers  1, 
3,  5  etc.  playing  the  upper  part,  and  2,  4,  6  etc.,  the  lower;  or 
else  the  musician  on  the  right-hand  of  each  desk  plays  the  top 
line,  the  one  on  the  left  the  bottom  line.  Dividing  by  threes  is 
less  easy,  as  the  number  of  players  in  one  group  is  not  always 
divisible  by  three,  and  hence  the  difficulty  of  obtaining  proper 
balance.  Nevertheless  there  are  cases  where  the  composer  should 
not  hesitate  to  employ  this  method  of  dividing  the  strings,  leaving 
it  to  the  conductor  to  ensure  equality  of  tone.  It  is  always  as 
well  to  mark  how  the  passage  is  to  be  divided  in  the  score; 
Vni  I,  1,  2,  3  desks,  6  'Cellos  div.  a  3,  and  so  on.  Division  into 
four  and  more  parts  is  rare,  but  may  be  used  in  piano  passages, 
as  it  greatly  reduces  volume  of  tone  in  the  group  of  strings. 

Note.  In  small  orchestras  passages  sub-divided  into  many  parts  are  very 
hard  to  realise,  and  the  effect  obtained  is  never  the  one  required. 


String  parts  may  be  divided  thus: 

'Cellos  div. 
basses  div. 


rVni  I  div.      .  (Vnill  div.         /Violas  div.  f'Ce 

^  I  Vni  II  div.      ^  I  Violas  div.      ^  I  'Cellos  div.      ^  I D. 


Possible  combinations  less  frequently  used  are: 

fVn^I  div.  rVnill  div.  f  Violas  div. 

^  I  Violas  div.       '  I  'Cellos  div.       ^  I D.  basses  div. 

Note.  It  is  evident  that  the  tone  quality  in  b  and  e  will  be  similar.  Still  b 
is  preferable  since  the  number  of  Vni  II  (14  —  10  —  6)  and  Violas  (12  —  8  —  4) 
is  practically  the  same,  the  respective  r61es  of  the  two  groups  are  more  closely 
allied,  and  from  the  fact  that  second  violins  generally  sit  nearer  to  the  violas 
than  the  first,  thereby  guaranteeing  greater  unity  in  power  and  execution. 

The  reader  will  find  all  manner  of  divisions  in  the  musical 
examples  given  in  Vol.  II.  Where  necessary,  some  explanation  as 
to  the  method  of  dividing  strings  will  follow  in  due  course.  I  dwell 
on  the  subject  here  in  order  to  show  how  the  usual  composition 
of  the  string  quartet  may  be  altered. 


—     8    — 

Stringed  instruments  possess  more  ways  of  producing  sound  than 
any  other  orchestral  group.  They  can  pass,  better  than  other 
instruments  from  one  shade  of  expression  to  another,  the  varieties 
being  of  an  infinite  number.  Species  of  bowing  such  as  legato, 
detached,  staccato,  spiccato,  portamento,  martellato,  light  staccato, 
saltando,  attack  at  the  nut  and  at  the  point,  n  n  H  and  V  V  V  (down 
bow  and  up  bow),  in  every  degree  of  tone,  fortissimo,  pianissimo, 
crescendo,  diminuendo,  sforzando,  morendo — all  this  belongs  to  the 
natural  realm  of  the  string  quartet. 

The  fact  that  these  instruments  are  capable  of  playing  double 
notes  and  full  chords  across  three  and  four  strings — to  say  nothing 
of  sub-division  of  parts — renders  them  not  only  melodic  but  also 
harmonic  in  character  (1). 

From  the  point  of  view  of  activity  and  flexibility  the  violin 
takes  pride  of  place  among  stringed  instruments,  then,  in  order, 
come  the  viola,  'cello  and  double  bass.  In  jyactice  the  notes  of 
extreme  limit  in  the  string  quartet  should  be  fixed  as  follows: 


for  violins:      (fe  ,  for  violas:  ^ 


u. 


for  'cellos:       V'  ,  for  double  basses:      ^ 


Higher  notes  given  in  Table  A,  should  only  be  used  with  caution, 
that  is  to  say  when  they  are  of  long  value,  in  tremolando,  slow, 
flowing  melodies,  in  not  too  rapid  sequence  of  scales,  and  in 
passages  of  repeated  notes.    Skips  should  always  be  avoided. 

Note.  In  quick  passages  for  stringed  instruments  long  chromatic  figures 
are  never  suitable;  they  are  difficult  to  play  and  sound  indistinct  and  muddled. 
Such  passages  are  better  allotted  to  the  wood-wind. 

A  limit  should  be  set  to  the  use  of  a  high  note  on  any  one  of 
the  three  lower  strings  on  violins,  violas  and  'cellos.  This  note 
should  be  the  one  in  the  fourth  position,  either  the  octave  note 
or  the  ninth  of  the  open  string. 

(1)  To  give  a  list  of  easy  three  and  four-note  chords,  or  to  explain  the  different 
methods  of  bowing  does  not  come  within  the  scope  of  the  present  book. 


Nobility,  warmth,  and  equality  of  tone  from  one  end  of  the  scale  to 
the  other  are  qualities  common  to  all  stringed  instruments,  and  render 
them  essentially  superior  to  instruments  of  other  groups.  Further, 
each  string  has  a  distinctive  character  of  its  own,  difficult  to  define 
in  words.  The  top  string  on  the  violin  (E)  is  brilliant  in  character, 
that  of  the  viola  (A)  is  more  biting  in  quality  and  slightly  nasal; 
the  highest  string  on  the  'cello  (A)  is  bright  and  possesses  a 
"chest-voice"  timbre.  The  A  and  D  strings  on  the  violin  and  the 
D  string  on  the  violas  and  'cellos  are  somewhat  sweeter  and 
weaker  in  tone  than  the  others.  Covered  strings  (G)y  on  the 
violin  (G  and  C),  on  the  viola  and  'cello  are  rather  harsh.  Speak- 
ing generally,  the  double  bass  is  equally  resonant  throughout, 
slightly  duller  on  the  two  lower  strings  (E  and  A),  and  more 
penetrating  on  the  upper  ones  (D  and  G). 

Note.  Except  in  the  case  of  pedal  notes,  the  double  bass  rarely  plays  an 
independent  part,  usually  moving-  in  octaves  or  in  unison  with  the  'cellos,  or  else 
doubling  the  bassoons.  The  quality  of  the  double  bass  tone  is  therefore  seldom 
heard  by  itself  and  the  character  of  its  different  strings  is  not  so  noticeable. 

The  rare  ability  to  connect  sounds,  or  a  series  of  sounds,  the 
vibration  of  stopped  strings  combined  with  their  above-named 
qualities — warmth  and  nobility  of  tone — renders  this  group  of 
instruments  far  and  away  the  best  orchestral  medium  of  melodic 
expression.  At  the  same  time,  that  portion  of  their  range  situated 
beyond  the  "limits  of  the  human  voice,  e.  g.  notes  on  the  violin 
higher  than   the  extreme  top   note   of  the   soprano  voice,   from 


« 


upwards,  and  notes  on  the  double  bass  below  the  range  of  the 
bass  voice,  descending  from 


(written  sound) 


lose  in  expression  and  warmth  of  tone.    Open  strings  are  clearer 
and  more  powerful  but  less  expressive  than  stopped  strings. 

Comparing  the  range  of  each  stringed  instrument  with  that  of 
the  human  voice,  we  may  assign:  to  the  violin,  the  soprano  and 


—     10    — 

contralto  voice  plus  a  much  higher  range;  to  the  viola,  the  con- 
tralto and  tenor  voice  plus  a  much  higher  register;  to  the  'cello, 
the  tenor  and  bass  voices  plus  a  higher  register;  to  the  double 
bass,  the  bass  voice  plus  a  lower  range. 

The  use  of  harmonics,  the  mute,  and  some  special  devices  in 
bowing  produce  great  difference  in  the  resonance  and  tone  quality 
of  all  these  instruments. 

Harmonics,  frequently  used  to  day,  alter  the  timbre  of  a  stringed 
instrument  to  a  very  appreciable  extent.  Cold  and  transparent  in 
soft  passages,  cold  and  brilliant  in  loud  ones,  and  offering  but 
little  chance  for  expression,  they  form  no  fundamental  part  of  or- 
chestral writing,  and  are  used  simply  for  ornament.  Owing  to 
their  lack  of  resonant  power  they  should  be  used  sparingly,  and, 
when  employed,  should  never  be  overpowered  by  other  instruments. 
As  a  rule  harmonics  are  employed  on  sustained  notes,  tremolando., 
or  here  and  there  for  brilliant  effects;  they  are  rarely  used  in 
extremely  simple  melodies.  Owing  to  a  certain  tonal  affinity  with 
the  flute  they  may  be  said  to  form  a  kind  of  link  between  string 
and  wood-wind  instruments. 

Another  radical  change  is  effected  by  the  use  of  mutes.  When 
muted,  the  clear,  singing  tone  of  the  strings  becomes  dull  in  soft 
passages,  turns  to  a  slight  hiss  or  whistle  in  loud  ones,  and  the 
volume  of  tone  is  always  greatly  reduced. 

The  position  of  the  bow  on  the  string  will  affect  the  resonance 
of  an  instrument.  Playing  with  the  bow  close  to  the  bridge  (sul 
ponticello),  chiefly  used  tremolando,  producer  a  metallic  sound; 
playing  on  the  finger-board  (sul  tasto,  flautando)  creates  a  dull, 
veiled  effect. 

Note.  Another  absolutely  different  sound  results  from  playing  with  the  back 
or  wood  of  the  bow  {col  legno).  This  produces  a  sound  like  a  xylophone  or 
a  hollow  pizzicato.  It  is  discussed  under  the  heading  of  instruments  of  little 
sustaining  power. 

The  five  sets  of  strings  with  number  of  players  given  above 
produce  a  fairly  even  balance  of  tone.  If  there  is  any  sur- 
plus of  strength  it  must  be  on  the  side  of  the  first  violins, 
as  they  must  be  heard  distinctly  on  account  of  the  important 
part  they  play  in  the  harmonic  scheme.  Besides  this,  an  extra 
desk  of  first  violins  is  usual  in  all  orchestras,  and  as  a  general 


11   — 


• 

S 

5 

« 

o 

.s 

u 

o 

be 

"S 

E 

be 

s 

C 

•w 

^ 

C/3 

^ 

*& 

• 
< 

c 

B 

o 

1 

S 

CO 

e 

03 

H 

s 

jS 

f- 

E 

"3 
« 

E 

o 


bfl 


> 
'bit 


o 


be 


be 


o 

o 
c 
a> 

•o 

be 


C 

> 


> 


c 

> 


3 


s 
o 
Q 


.E   be 


So  > 

b« 


—     12    — 

rule  they  possess  a  more  powerful  tone  than  second  violins. 
The  latter,  with  the  violas,  play  a  secondary  part,  and  do  not 
stand  out  so  prominently.  The  'cellos  and  double  basses  are 
heard  more  distinctly,  and  in  the  majority  of  cases  form  the  bass 
in  octaves. 

In  conclusion  it-  may  be  said  that  the  group  of  strings,  as  a 
ipelodic  element,  is  able  to  perform  all  manner  of  passages,  rapid 
and  interrupted  phrases  of  every  description,  diatonic  or  chromatic 
in  character.  Capable  of  sustaining  notes  without  difficulty,  of 
playing  chords  of  three  and  four  notes;  adapted  to  the  infinite 
variety  of  shades  of  expression,  and  easily  divisible  into  numerous 
sundry  parts,  the  string  group  in  an  orchestra  may  be  considered 
as  an  harmonic  element  particularly  rich  in  resource. 


B.  Wind  instruments. 

'  Wood-wind. 

Apart  from  the  varying  number  of  players,  the  formation  of  the 
string  group,  with  its  five  constituent  parts  remains  constant,  satis- 
fying the  demands  of  any  orchestral  full  score.  On  the  other 
hand  the  group  of  wood-wind  instruments  varies  both  as  regards 
number  of  parts  and  the  volume  of  tone  at  its  command,  and  here 
the  composer  may  choose  at  will.  The  group  may  be  divided  into 
three  general  classes:  wood-wind  instruments  in  pair's,  in  three's 
and  in  four's,  (see  table  on  page  13). 

Arabic  numerals  denote  the  number  of  players  on  each  instru- 
ment; roman  figures,  the  parts  (isl,  2^  etc.).  Instruments  which 
do  not  require  additional  players,  but  are  taken  over  by  one  or  the 
other  executant  in  place  of  his  usual  instrument,  are  enclosed  in 
brackets.  As  a  rule  the  first  flute,  first  oboe,  first  clarinet  and  first 
bassoon  never  change  instruments;  considering  the  importance  of 
their  parts  it  is  not  advisable  for  them  to  turn  from  one  mouthpiece 
to  another.  The  parts  written  for  piccolo,  bass  flute,  English  horn, 
small  clarinet,  bass  clarinet  and  double  bassoon  are  taken  by  the 
second  and  third  players  in  each  group,  who  are  more  accustomed 
to  using  these  instruments  of  a  special  nature. 


—     13 


Wood-wind 

Wood-wind 

Wood-wind 

in  pair's 

in  three's 

in  four's 

(II  — Piccolo). 

(III  — Piccolo). 

1  Piccolo  (IV). 

2  Flutes  I.  II. 

3  Flutes  I.  II.  III. 

3  Flutes  I.  II.  III. 

(II  — Bass  flute). 

(Ill  — Bass  flute). 

2  Oboes  I.  II. 

2  Oboes  I.  II. 

3  Oboes  I.  II.  III. 

(II  — Eng.  horn). 

1  Eng.  horn  (III). 

1  Eng.  horn  (IV). 

(II  — Small  clarinet). 

(II  — Small  clarinet). 

2  Clarinets  I.  II. 

3  Clarinets  I.  II.  III. 

3  Clarinets  I.  II.  III. 

(II— Bass  clarinet). 

(Ill  — Bass  clarinet). 

1  Bass  Clarinet  (IV). 

2  Bassoons  I.  II. 

2  Bassoons  I.  II. 

3  Bassoons  I.  II.  III. 

1  Double  bassoon  (III). 

1  Double  bassoon  (IV). 

The  formation  of  the  first  class  may  be  altered  by  the  perma- 
nent addition  of  a  piccolo  part.  Sometimes  a  composer  writes 
for  two  piccolos  or  two  Eng.  horns  etc.  without  increasing  the 
original  number  of  players  required  (in  three's  or  four's). 

Note  I.  Composers  using  the  first  class  en  the  course  of  a  big  work  (oratorio, 
opera,  symphony,  etc.)  may  introduce  special  instruments,  called  extras,  for  a 
long  or  short  period  of  time;  each  of  these  instruments  involves  an  extra  player 
not  required  throughout  the  entire  work.  Meyerbeer  was  fond  of  doing  this, 
but  other  composers.  Glinka  for  example,  refrain  from  increasing  the  number 
of  performers  by  employing  extras  (Eng.  horn  part  in  Roussldn).  Wagner  uses 
all  three  classes  in  the  above  table  (in  pair's:  Tanhduser — in  three's:  Tristan 
—in  four's:  Tfte  Ring). 

Note  II.  Mlada  is  the  only  work  of  mine  involving  formation  b^  four's. 
Ivan  the  Terrible,  Sadko,  The  Legend  of  Tsar  Saltan,  The  Legend  of  the 
Invisible  City  of  Kitesh  and  The  Golden  Cockerel  all  belong  to  the  second 
class,  and  in  my  other  works,  wood-wind  in  pair's  is  used  with  a  varying 
number  of  extras.  The  Christmas  Night,  with  its  two  oboes,  and  two  bassoons, 
three  flutes  and  three  clarinets,  forms  an  intermediate  class. 

Considering  the  instruments  it  comprises,  the  string  group  offers 
a  fair  variety  of  colour,  and  contrast  in  compass,  but  this  diver- 
sity of  range  and  timbre  is  subtle  and  not  easily  discerned.  In 
the  wood-wind  department,  however,  the  difference  in  register 
and  quality  of  flutes,  oboes,  clarinets  and  bassons  is  striking  to  a 
degree.    As  a  rule,  wood-wind  instruments  are  less  flexible  than 


—    14    — 

strings;  they  lack  the  vitality  and  power,  and  are  less  capable  of 
different  shade  of  expression. 

In  each  wind  instrument  I  have  defined  the  scope  of  greatest 
expression,  that  is  to  say  the  range  in  which  the  instrument  is 
best  qualified  to  achieve  the  various  grades  of  tone,  {forte,  piano, 
cresc,  dim.,  sforzando,  morendo,  etc.)— the  register  which  admits 
of  the  most  expressive  playing,  in  the  truest  sense  of  the  word. 
Outside  this  range,  a  wind  instrument  is  more  notable  for  richness 
of  colour  than  for  expression.  I  am  probably  the  originator  of 
the  term  "scope  of  greatest  expression".  It  does  not  apply  to  the 
piccolo  and  double  bassoon  which  represent  the  two  extremes  of 
the  orchestral  compass.  They  do  not  possess  such  a  register  and 
belong  to  the  body  of  highly-coloured  but  non-expressive  instru- 
ments. 

The  four  kinds  of  wind  instruments:  flutes,  oboes,  clarinets  and 
bassoons  may  be  generally  considered  to  be  of  equal  power.  The 
same  cannot  be  said  of  instruments  which  fulfil  a  special  purpose: 
piccolo,  ba^s  flute,  Eng.  horn,  small  clarinet,  bass  clarinet  and 
double  bassoon.  Each  of  these  instruments  has  four  registers:  low, 
middle,  high  and  extremely  high,  each  of  which  is  characterised 
by  certain  differences  of  quality  and  power.  It  is  difficult  to  define 
the  exact  limits  of  each  register;  adjacent  registers  almost  blend 
together  and  the  passage  from  one  to  another  is  scarcely  noticeable. 
But  when  the  instrument  jumps  from  one  register  to  another  the 
difference  in  power  and  quality  of  tone  is  very  striking. 

The  four  families  of  wind  instruments  may  be  divided  into 
two  classes:  a)  instruments  of  nasal  quality  and  dark  resonance— 
oboes  and  bassoons  (Eng.  horn  and  double  bassoon);  and  b)  in- 
struments of  "chest-voice"  quality  and  bright  tone — flutes  and 
clarinets  (piccolo,  bass  flute,  small  clarinet,  bass  clarinet). 

These  characteristics  of  colour  and  resonance — expressed  in 
too  simple  and  rudimentary  a  form — are  specially  noticeable  in 
the  middle  and  upper  registers.  The  lower  register  of  the  oboes 
and  bassoons  is  thick  and  rough,  yet  still  nasal  in  quality;  the 
very  high  compass  is  shrill,  hard  and  dry.  The  clear  resonance 
of  the  flutes  and  clarinets  acquires  something  nasal  and  dark  in  the 
lower  compass;  in  the  very  high  register  it  becomes  somewhat 
piercing. 


Note  to  Table  B. 


In  the  following  Table  B  the  top  note  in  each  register  serves  as  the  bottom  note 
in  the  next,  as  the  limits  to  each  register  are  not  defined  absolutely.  The  note 
G  fixes  the  register  of  flutes  and  oboes,  C  for  the  clarinets  and  bassoons.  In 
the  very  high  compass  those  notes  are  only  given  which  can  really  be  used; 
anything  higher  and  not  printed  as  actual  notes  are  either  too  difficult  to 
produce  or  of  no  artistic  value.  The  number  of  sounds  obtainable  in  the  highest 
compass  is  indefinite,  and  depends,  partly  on  the  quality  of  the  instrument 
itself,  partly  on  theposition  and  application  of  the  lips.  The  signs  r==—  — =:: 
are  not  to  be  mistaken  for  crescendo  and  diminuendo;  they  indicate  how  the 
resonance  of  an  instrument  increases  or  diminishes  in  relation  to  the  characte- 
ristic quality  of  its  timbre.  The  scope  of  greatest  expression  for  each  typical 

instrument  is  marked  thus,  I 1  under  the  notes ;  the  range  is  the  same 

in  each  instrument  of  the  same  type. 


3 
O 

c 


GO 


—     18    — 

Note.  It  is  a  difficult  matter  to  define  tone  quality  in  words;  we  must 
encroach  upon  the  domain  of  sight,  feeling,  and  even  taste.  Though  borrowed 
from  these  senses,  I  have  no  doubt  as  to  the  appropriateness  of  my  comparisons, 
but,  as  a  general  rule  definitions  drawn  from  other  sources  are  too  elementary 
to  be  applied  to  music.  No  condemnatory  meaning  however  should  be  attached 
to  my  descriptions,  for  in  using  the  terms  thick,  piercing,  shrill,  dry,  etc.  my 
object  is  to  express  artistic  fitness  in  words,  rather  than  material  exactitude. 
Instrumental  sounds  which  have  no  musical  meaning  are  classed  by  me  in  the 
category  of  useless  sounds,  and  I  refer  Jo  them  as  such,  giving  my  reasons. 
With  the  exception  of  these,  the  reader  is  advised  to  consider  all  other  orchestral 
timbres  beautiful  from  an  artistic  point  of  view,  although  it  is  necessary,  at 
times,  to  put  them  to  other  uses. 

Further  on,  a  table  of  wind  instruments  is  appended,  outlining  the  approximate 
limit  of  range,  defining  different  qualities  of  tone  and  indicating  the  scope  of 
greatest  expression  (the  piccolo  and  double  bassoon  excepted). 

Flutes  and  clarinets  are  the  most  flexible  wood-wind  instruments 
(the  flutes  in  particular),  but  for  expressive  power  and  subtlety 
in  nuances  the  clarinet  supersedes  them;  tfiis  instrument  can  reduce 
volume  of  tone  to  a  mere  breath.  The  nasal  instruments,  oboe 
and  bassoon,  are  less  mobile  and  supple;  this  is  accounted  for 
by  their  double  reed,  but,  having  to  effect  all  sorts  of  scales  and 
rapid  passages  in  common  with  the  flutes  and  clarinets,  oboes 
and  bassoons  may  be  considered  melodic  instruments  in  the  real 
sense  of  the  word,  only  of  a  more  cantabile  and  peaceful  character. 
In  very  quick  passages  they  often  double  the  flutes,  clarinets  or  strings. 

The  four  families  are  equally  capable  of  legato  and  staccato 
playing  and  changing  from  one  to  the  other  in  different  ways, 
but  distinct  and  penetrating  staccato  passages  are  better  suited  to  the 
oboes  and  bassoons,  while  the  flutes  and  clarinets  excel  in  well- 
sustained  legato  phrases.  Composite  legato  passages  should  be 
allotted  to  the  first  two  instruments,  composite  stacca'.o  passages 
to  the  latter  pair,  but  these  general  directions  should  not  deter 
the  orchestrator  from  adopting  the  opposite  plan. 

In  comparing  the  technical  indivitualities  of  the  wood-wind  the 
following  fundamental  differences  should  be  noted: 

a)  The  rapid  repetition  of  a  single  note  by  single  tonguing  is  com- 
•n*in  to  all  wind  instruments;  repitition  of  a  single  note  by  means 

'  double  tonguing  is  only  possible  on  the  flute,  a  reedless  instrument. 

b)  On  account  of  its  construction  the  clarinet  is  not  well  adapted 
to  sudden  leaps  from  one  octave  to  another;  these  skips  are 
easier  on  flutes,  oboes  and  bassoons. 


—     19    — 

c)  Arpeggios  and  rapid  alternation  of  two  intervals  legato  sound 
well  on  flutes  and  clarinets,  but  not  on  oboes  and  bassoons. 

Wood-wind  players  cannot  manage  extremely  long  sustained 
passages,  as  they  are  compelled  to  take  breath;  care  must  be 
taken  therefore  to  give  them  a  little  rest  from  time  to  time.  This 
is  unnecessary  in  the  case  of  string  players. 

In  the  endeavour  to  characterise  the  timbre  of  each  instrument 
typical  of  the  four  families,  from  a  psychological  point  of  view,  I 
do  not  hesitate  to  make  the  following  general  remarks  which  apply 
generally  to  the  middle  and  upper  registers  of  each  instrument: 

a)  Flute.  —  Cold  in  quality,  specially  suitable,  in  the  major  key,  to 
melodies  of  light  and  graceful  character;  in  the  minor  key,  to 
slight  touches  of  transient  sorrow. 

b)  Oboe.  —  Artless  and  gay  in  the  major,  pathetic  and  sad  in 
the  minor. 

c)  Clarinet.  —  Pliable  and  expressive,  suitable,  in  the  major,  to 
melodies  of  a  joyful  or  contemplative  character,  or  to  outbursts  of 
mirth;  in  the  minor,  to  sad  and  reflective  melodies  or  impassioned 
and  dramatic  passages. 

d)  Bassoon.  —  In  the  major,  an  atmosphere  of  senile  mockery; 
a  sad,  ailing  quality  in  the  minor. 

In  the  extreme  registers  these  instruments  convey  the  following 
impressions  to  my  mind: 

Low  register  Very  high  register 

a)  Flute—  Dull,  cold  Brilliant 

b)  Oboe—  Wild  Hard,  dry 

c)  Clarinet—  Ringing,    threatening  Piercing 

d)  Bassoon—  Sinister  Tense. 

Note.  It  is  true  that  no  mood  or  frame  of  mind,  whether  it  be  joyful  or  sadj 
meditative  or  lively,  careless  or  reflective,  mocking  or  distressed  can  be  aroused 
by  one  single  isolated  timbre;  it  dep^ds  more  upon  the  general  melodic  line, 
the  harmony,  rhythm,  and  dynamic  shades  of  expression,  upon  the  whole  for- 
mation of  a  given  piece  of  music.  The  choice  of  instruments  and  timbre  to 
be  adopted  depends  on  the  position  which  m<  lody  and  harmony  occupy  in  the 
seven-octave  scale  of  the  orchestra;  for  example,  a  melody  of  light  character 
in  the  tenor  register  could  not  be  given  to  the  flutes,  or  a  sad,  plaintive  phrase 
in  the  high  soprano  register  confided  to  the  bassoons.  But  the  ease  with  which 
tone  colour  can  be  adapted  to  expression  must  not  be  forgotten,  and  in  the 
first  of  these  two  cases  it  may  be  conceded  that  the  mocking  character  of  the 
bassoon  could  easily  and  quite  naturally  assume  a  light-hearted  aspect,  and 

2* 


—    20    — 

in  the  second  case,  that  the  slightly  melancholy  timbre  of  the  flute  is  some- 
what related  to  the  feeling  of  sorrow  and  distress  with  which  the  passage  is 
to  be  permeated.  The  case  of  a  melody  coinciding  in  character  with  the  in- 
strument on  which  it  is  played  is  of  special  importance,  as  the  effect  produced 
cannot  fail  to  be  successful.  There  are  also  moments  when  a  composer's 
artistic  feeling  prompts  him  to  employ  instruments,  the  character  of  which  is 
at  variance  with  the  written  melody  (for  eccentric,  grotesque  effects,  etc.). 

The  following  remarks  illustrate  the  characteristics,  timbre,  and 
employment  of  special  instruments: 

The  duty  of  the  piccolo  and  sm^ll  clarinet  is,  principally,  to 
extend  the  range  of  the  ordinary  flute  and  clarinet  in  the  high 
register.  The  whistling,  piercing  quality  of  the  piccolo  in  its  highest 
compass  is  extraordinarily  powerful,  but  does  not  lend  itself  to 
more  moderate  shades  of  expression.  The  small  clarinet  in  its 
highest  register  is  more  penetrating  than  the  ordinary  clarinet 
The  low  and  middle  range  of  the  piccolo  and  small  clarinet 
correspond  to  the  same  register  in  the  normal  flute  and  clarinet, 
but  the  tone  is  so  much  weaker  that  it  is  of  little  service  in  those 
regions.  Tlie  double  bassoon  extends  the  range  of  the  ordinary 
bassoon  in  the  low  register.  The  characteristics  of  the  bassoon's 
low  compass  are  still  further  accentuated  in  the  corresponding 
range  of  the  double  bassoon,  but  the  middle  and  upper  registers 
of  the  latter  are  by  no  means  so  useful.  The  very  deep  notes  of 
the  double  bassoon  are  remarkably  thick  and  dense  in  quality, 
very  powerful  in  piano  passages. 

Note.  Nowadays,  when  the  limits  of  the  orchestral  scale  are  considerably 
extended  (up  to  the  high  C  of  the  7*h  octave,  and  down  to  the  low  C,  16  ft. 
contra  octave),  the  piccolo  forms  an  indispensable  constituent  of  the  wind-group; 
similarly,  it  is  recognised  that  the  double  bassoon  is  capable  of  supplying 
valuable  assistance.  The  small  clarinet  is  rarely  employed  and  only  for  colour 
effects. 

The  English  horn,  or  alto  oboe  (oboe  in  F)  is  similar  in  tone 
to  the  ordinary  oboe,  the  listless,  dreamy  quality  of  its  timbre 
being  sweet  in  the  extreme.  In  the  low  register  it  is  fairly  pene- 
trating. The  bass  clarinet,  though  strongly  resembling  the  ordinary 
clarinet,  is  of  darker  colour  in  the  low  register  and  lacks  the 
silveiy  quality  in  the  upper  notes;  it  is  incapable  of  joyful  ex- 
pression. The  bass  flute  is  an  instrument  seldom  used  even  today; 
it  possesses  the  same  features  as  the  flute,  but  it  is  colder  in 


—     21     — 

colour,  and  crystalline  in  the  middle  and  high  regions.  These 
three  particular  instruments,  apart  from  extending  the  low  registers 
of  the  instruments  to  which  they  belong,  have  their  own  distinctive 
peculiarities  of  timbre,  and  are  often  used  in  the  orchestra,  as  solo 
instruments,  clearly  exposed. 

Note.  Of  the  six  special  instruments  referred  to  above,  the  piccolo  and 
double  bassoon  were  the  first  to  be  used  in  the  orchestra;  the  latter,  however, 
was  neglected  after  Beethoven's  death  and  did  not  reappear  until  towards  the 
end  of  the  191!l  century.  The  Eng.  horn  and  bass  clarinet  were  employed  initially 
during  the  first  half  of  the  same  century  by  Berlioz,  Meyerbeer,  and  others, 
and  for  some  time  retained  their  position  as  extras,  to  become,  later  on, 
permanent  orchestral  factors,  first  in  the  theatre,  then  in  the  concert  room. 
Very  few  attempts  have  been  made  to  introduce  the  small  clarinet  into  the 
orchestra  (Berlioz  etc.);  this  instrument  together  with  the  bass  flute  is  used 
in  my  opera-ballet  Mlada  (1892),  and  also  in  my  most  recent  compositions. 
The  Christmas  Night,  and  Sadko;  the  bass  flute  will  also  be  found  in  The 
Legend  of  the  Invisible  City  of  Kitesh,  and  in  the  revised  version  of  "Ivan  the 
Terrible". 

Of  late  years  the  habit  of  muting  the  wood-wind  has  come  into 
fashion.  This  is  done  by  inserting  a  soft  pad,  or  a  piece  of  roUed- 
up  cloth  into  the  bell  of  the  instrument.  Mutes  deaden  the  tone  of 
oboes,  Eng.  horns,  and  bassoons  to  such  an  extent  that  it  is  possible 
for  these  instruments  to  attain  the  extreme  limit  of  pianissimo 
playing.  The  muting  of  clarinets  is  unnecessary,  as  they  can  play 
quite  softly  enough  without  artificial  means.  Is  has  not  yet  been 
discovered  how  to  mute  the  flutes;  such  a  discovery  would  render 
great  service  to  the  piccolo.     The  lowest  note  on  the  bassoon. 


and  on  the  oboe  and  Eng.  horn 


are  impossible  when  the  instruments  are  muted.    Mutes  have  no 
effect  in  the  highest  register  of  wind  instruments. 

Brass. 

The  formation  of  the  group  of  brass  instruments,  like  that  of  the 
wood-wind  is  not  absolutely  uniform,  and  varies  ih  different  scores. 
The  brass  group  may  be  divided  into  three  general  classes  corres- 
ponding to  those  of  the  wood-wind  (in  pair's,  in  three's,  and  in 
four's). 


22 


Group  corresponding 

to  the  wood- wind 

in  pair's 

Group  corresponding 

to  the  wood-wind 

in  three's 

Group  corresponding 

to  the  wood-wind 

in  four's 

2  Trumpets  I,  II. 

3  Trumpets  I,  II,  III. 
(Ill— Alto  trumpet 

or: 
p  Cornets  1,  11. 
L2  Trumpets  I,  II. 

(11  — Small  trumpet). 

3  Trumpets  1,  II,  III. 

(Ill— Alto  trumpet  or 

Bass  trumpet. 

4  Horns  1,  11,  III,  IV. 

4  Horns  I,  II,  III,  IV. 

6  or  8  Horns  I,  II,  III,' 
IV,  V,  Vi,  VII,  Vlll. 

3  Trombones. 

3  Trombones  I,  11,  III. 

3  Trombones  I,  II,  III. 

1  Tuba. 

1  Tuba  (1). 

1  Tuba. 

The  directions  are  the  same  as  in  tlie  preceding  table  for  wood- 
wind. It  is  evident  that  in  all  three  classes  the  formation  may 
vary  as  the  composer  wishes.  In  music  for  the  theatre  or  concert 
room  page  after  page  may  be  written  without  the  use  of  trumpets, 
trombones  and  tuba,  or  some  instrument  may  -be  introduced,  temp- 
orarily as  an  extra.  In  the  above  table  I  have  given  the  most 
typical  formations,  and  those  which  are  the  most  common  at  the 
present  day. 

Note  I.  Besides  the  instruments  given  above,  Richard  Wagner  used  some 
others  in  The  Ring,  notably  the  quartet  of  tenor  and  bass  tubas,  and  a  contra- 
bass trombone.  Sometimes  these  additions  weigh  too  heavily  on  the  other 
groups,  and  at  other  times  they  render  the  rest  of  the  brass  ineffective.  For 
this  reason  composers  have  doubtless  refrained  from  employing  such  instruments, 
and  Wagner  himself  did  not  include  them  in  the  score  of  Parsifal.  Some 
present-day  composers  (Richard  Strauss,  Scriabine)  write  for  as  many  as  five 
trumpets. 

Note  II.  From  the  middle  of  the  1911i  century  onward  the  natural  brass 
disappeared  from  the  orchestra,  giving  place  to  valve  instruments.  In  my  second 
opera.  The  May  Night  I  used  natural  horns  and  trumpets,  changing  the  keys, 
and  writing  the  best  notes  "stopped";  this  was  purposely  done  for  practise. 

Though  far  less  flexible  than  the  wood-wind,  brass  instruments 
heighten  the  effect  of  other  orchestral  groups  by  their  powerful 
resonance.     Trumpets,  trombones,  and  tubas  are  about  equal  in 

(1)  Of  late  years  sometimes  two  tubas  are  employed,  by  Glazounov  for 
instance  in  his  Finnish  Fantasia.  (Editor's  note.) 


—     23    — 

strength;  cornets  have  not  quite  the  same  force;  horns,  in  forte 
passages,  are  about  one  half  as  strong,  but  piano,  they  have 
the  same  weight  as  other  brass  instruments  played  softly.  To 
obtain  an  equal  balance,  therefore,  the  marks  of  expression  in  the 
horns  should  be  one  degree  stronger  than  in  the  rest  of  the  brass; 
if  the  trumpets  and  trombones  play  pp,  the  horns  should  be 
marked  p.  On  the  other  hand,  to  obtain  a  proper  balance  in 
forte  passages,  two  horns  are  needed  to  one  trumpet  or  one 
trombone.  « 

Brass  instruments  are  so  similar  in  range  and  timbre  that  the 
discussion  of  register  is  unnecessary.  As  a  general  rule  quality 
becomes  more  brilliant  as  the  higher  register  is  approached,  and 
vice  versa,  with  a  decrease  in  tone.  Played  pp  the  resonance  is 
sweet;  played  //  the  tone  is  hard  and  "crackling".  Brass  instru- 
ments possess  a  remarkable  capacity  for  swelling  from  pianissimo 
to  fortissimo,  and  reducing  the  tone  inversely,  the  sf  =—  p  effect 
being  excellent. 

The  following  remarks  as  to  character  and  tone  quality  may 
be  added: 

a)  1.  Trumpets  (B\>  —  A).  Clear  and  fairly  penetrating  in 
tone,  stirring  and  rousing  in  forte  passages;  in  piano 
phrases  the  high  notes  are  full  and  silvery,  the  low  notes 
troubled,  as  though  threatening  danger. 

2.  Alto  trumpet  (in  F).  An  instrument  of  my  own  invention, 
first  used  by  me  in  the  opera — ballet  Mlada.  In  the 
deep  register  (notes  2  to  3  in  the  trumpet  scale)  it  possesses 
a  fuller,  clearer,  and  finer  tone.  Two  ordinary  trumpets 
with  an  alto  trumpet  produce  greater  smoothness  and 
equality  in  resonance  than  three  ordinary  trumpets.  Satis- 
fied with  the  beauty  and  usefulness  of  the  alto  trumpet, 
I  have  consistently  written  for  it  in  my  later  works,  com- 
bined with  wood-wind  in  three's. 

Note.  To  obviate  the  difficulty  of  using:  the  alto  trumpet  in  ordinary  theatres 
and  some  concert  rooms,  I  have  not  brought  into  play  the  last  four  notes  of 
its  lowest  register  or  their  neighbouring  chromatics;  by  this  means  the  alto 
trumpet  part  may  be  played  by  an  ordinary  trumpet  in  Bl>  or  A. 

3.  Small  trumpet  (in  E\>—D).  Invented  by  me  and  used 
for  the  first  time  in   Mlada  to  realise   the  very  high 


—    24    — 

trumpet  notes  without  difficulty.  In  tonality  and  range 
the  instrument  is  similar  to  the  soprano  cornet  in  a  mili- 
tary band. 

Note.    The  small  trumpet,  {B\^  —  A)  sounding  an  octave  higher  than  the 
ordinary  trumpet  has  not  yet  appeared  in  musical  literature. 

b)  Cornets  (m  B\>  —  A).  Possessing  a  quality  of  tone  similar 
to  the  trumpet,  but  softer  and  weaker.  It  is  a  beautiful 
instrument  though  rarely  employed  today  in  theatre  or 
concert  room.  Expert  players  can  imitate  the  cornet  tone 
on  the  trumpet,  and  vice  versa. 

c)  Horn  (in  F).  The  tone  of  this  instrument  is  soft,  poetical, 
and  full  of  beauty.  In  the  lower  register  it  is  dark  and 
brilliant;  round  and  full  in  the  upper.  The  middle  notes 
resemble  those  of  the  bassoon  and  the  two  instruments 
blend  well  together.  The  horn,  therefore,  serves  as  a  link 
between  the  brass  and  wood-wind.  In  spite  of  valves 
the  horn  has  but  little  mobility  and  would  seem  to  pro- 
duce its  tone  in  a  languid  and  lazy  manner. 

d)  Trombone.  Dark  and  threatening  in  the  deepest  register, 
brilliant  and  triumphant  in  the  high  compass.  The  piano 
is  full  but  somewhat  heavy,  the  forte  powerful  and  sono- 
rous. Valve  trombones  are  more  mobile  than  slide  trom- 
bones, but  the  latter  are  certainly  to  be  preferred  as 
regards  nobility  and  equality  of  sound,  the  more  so  from 
the  fact  that  these-  instruments  are  rarely  required  to 
perform  quick  passages,  owing  to  the  special  character  of 
their  tone. 

e)  Tuba.  Thick  and  rough  in  quality,  less  characteristic  than 
the  trombone,  but  valuable  for  the  strength  and  beauty 
of  its  low  notes.  Like  the  double  bass  and  double 
bassoon,  the  tuba  is  eminently  useful  for  doubling,  an 
octave  lower,  the  bass  of  the  group  to  which  it  belongs. 
Thanks  to  its  valves,  the  tuba  is  fairly  flexible. 

The  group  of  brass  instruments,  though  uniform  in  resonance 
throughout  its  constituent -parts,  is  not  so  well  adapted  to  expressive 
playing  (in  the  exact  sense  of  the  word)  as  the  wood-wind  group. 
Nevertheless,  a  scope  of  greatest  expression  may  be  distinguished 


25    — 


a 

3 
O 
u 
U 

u 
CO 


a 

E 
o 


(1> 

> 

'So 


o    - 


x: 
H 


—     26    — 

in  the  middle  registers.  In  company  with  the  piccolo  and  double 
bassoon  it  is  not  given  to  the  small  trumpet  (E\j(  —  D)  and  tuba 
to  play  with  any  great  amount  of  expression.  The  rapid  and 
rhythmical  repitition  of  a  note  by  single  tonguing  is  possible  to 
all  members  of  the  brass,  but  double  tonguing  can  only  be  done 
on  instruments  with  a  small  mouth-piece,  trumpets  and  cornets. 
These  two  instruments  can  execute  rapid  tremolando  without  diffi- 
culty. The  remarks  on  breathing,  in  the  section  devoted  to  the 
wood-wind,  apply  with  equal  force  to  the  brass. 

The  use  of  stopped  notes  and  mutes  alters  the  character  of 
brass  tone.  Stopped  notes  can  only  be  employed  on  trumpets, 
cornets  and  horns;  the  shape  of  trombones  and  tubas  prevents 
the  hand  from  being  inserted  into  the  bell.  Though  mutes  are 
applied  indiscriminately  to  all  brass  instruments  in  the  orchestra, 
tubas  rarely  posses  them.  Stopped  and  muted  notes  are  similar 
in  quality.  On  the  trumpet,  muting  a  note  produces  a  better  tone 
than  stopping  it. 

In  the  horn  both  methods  are  employed;  single  notes  are  stopped 
in  short  phrases,  muted  in  longer  ones.  I  do  not  propose  to  describe 
the  difference  between  the  two  operations  in  detail,  and  will  leave 
the  reader  to  acquire  the  knowledge  for  himself,  and  to  form  an 
opinion  as  to  its  importance  from  his  own  personal  observation. 
Sufficient  to  say  that  the  tone  is  deadened  by  both  methods, 
assuming  a  wild  "crackling"  character  in  forte  passages,  tender  and 
dull  in  piano.  Resonance  is  greatly  reduced,  the  silvery  tone  of  the 
instrument  to  lost  and  a  timbre  resembling  that  of  the  oboe  and 
Eng.  horn  is  approached.  Stopped  notes  (con  sordino)  are  marked 
-f-  underneath  the  note,  sometimes  followed  by  0»  denoting  the 
resumption  of  open  sounds,  senza  sordini.  Brass  instruments,  when 
muted,  produce  an  effect  of  distance. 

C.  Instruments  of  little  sustaining  power. 

Plucked  strings. 

When  the  usual  orchestral  string  quartet  (Vni  I,  Vni  II,  Violas, 
'Cellos,  D.  basses)  does  not  make  use  of  the  bow,  but  plucks  thjC 
strings  with  the  finger,  it  becomes  to  my  mind  a  new  and  inde- 


—    27    — 

pendent  group  with  its  own  particular  quality  of  tone.  Associated 
with  the  harp,  which  produces  sound  in  a  similar  manner,  I  con- 
sider it  separately-  under  the  heading  of  plucked  strings. 

Note.  In  this  group  may  be  classed  the  gmids,  zither,  balalaika;  instruments 
plucked  with  a  quill,  such  as  the  domra,  (1)  the  mandoline  etc.,  all  of  which  may 
be  used  in  an  orchestra,  but  have  no  place  in  the  scope  of  the  present  book. 

Pizzicato. 

Although  capable  of  every  degree  of  power  from  //  to  pp,  pizzi- 
cato playing  has  but  small  range  of  expression,  and  is  used  chiefly 
as  a  colour  effect  On  open  strings  it  is  resonant  and  heavy,  on 
stopped  strings  shorter  and  duller;  in  the  high  positions  it  is  rather 
dry  and  hard. 

Table  D  on  page  31  indicates  the  range  in  which  pizzicato  may 
be  used  on  each  stringed  instrument. 

In  the  orchestra,  pizzicato  comes  into  operation  in  two  distinct 
ways:  a)  on  single  notes,  b)  on  double  notes  and  chords.  The 
fingers  of  the  right  hand  playing  pizz.  are  far  less  agile  than  the  bow; 
pizz.  passages  therefore  can  never  be  performed  as  quickly  as  those 
played  arco.  Moreover,  the  speed  of  pizzicato  playing  depends  upon 
the  thickness  of  the  strings;  on  the  double  basses,  for  instance, 
it  must  always  be  much  slower  than  on  the  violins. 

In  pizzicato  chords  it  is  better  to  avoid  open  strings,  which 
produce  a  more  brilliant  tone  than  of  covered  strings.  Chords  of 
four  notes  allow  oi  greater  freedom  and  vigour  of  attack,  as 
there  is  no  danger  of  accidentally  touching  a  wrong  note.  Natural 
harmonics  played  pizz.  create  a  charming  effect;  the  tone  is  weak 
however,  and  they  are  chiefly  successful  on  the  violoncello. 

Harp. 

In  the  orchestra,  the  harp  is  almost  entirely  an  harmonic  or 
accompanying  instrument.  The  majority  of  scores  require  only 
one  harp  part,  but  in  recent  times  composers  have  written  for  two 
or  even  three  harps,  which  are  sometimes  compressed  into  the 
one  part 


(1)  A  russian  instrument  which,  like  the  balalaika,  is  better  known  abroad. 

(Translator's  note.) 


—     28    — 

Note.  Full  orchestras  should  include  three  or  even  four  harps.  My  operas 
Sadko,  The  Legend  of  the  Invisible  City  of  Kitesh,  and  The  Golden  Cockerel 
are  designed  for  t\yo  harps,  Mlada  for  three. 

The  special  function  of  the  harp  lies  in  the  execution  of  chords, 
and  the  florid  figures  springing  from  them.  As  only  four  notes 
at  the  most  can  be  played  by  each  hand,  the  notes  of  a  chord 
should  be  written  close  together,  with  not  too  great  a  space  be- 
tween one  hand  and  the  other.  The  chords  must  always  be  broken 
(arpeggiato);  should  the  composer  wish  otherwise  he  should 
notify  it  (non  arpeggiato).  In  the  middle  and  lower  octaves  the 
resonance  of  the  strings  is  slightly  prolonged,  and  dies  away  gra- 
dually. In  changes  of  harmony  the  player  stops  the  vibration  of 
the  strings  with  his  hands,  but,  in  quick  modulations,  this  method 
is  not  feasible,  and  the  mixture  of  one  chord  with  another  produces 
a  discordant  effect.  It  follows  that  more  or  less  rapid  figures  can 
only  be  realised  clearly  and  neatly  in  the  upper  register  of  *he  harp, 
where  the  strings  are  shorter  and  harder  in  tone. 

As  a  general  rule,  in  the  whole  range  of  the  harp: 


8 bassa 

only  the  notes  of  the  first  to  the  fourth  octave  are  used;  the  extreme 
notes  in  both  compasses  may  be  employed  in  special  circumstances, 
and  for  doubling  in  octaves. 

The  harp  is  essentially  a  diatonic  instrument,  since  all  chromatic 
passages  depend  on  the  manipulation  of  the  pedals.  For  this  reason 
the  harp  does  not  lend  itself  to  rapid  modulation,  and  the  orches- 
trator  is  advised  to  bear  this  fact  in  mind.  But  the  difficulty  may 
be  obviated  by  using  two  harps  alternately.  (1) 

Note.  I  would  remind  the  reader  that  the  harp  is  not  capable  of  double 
sharps  or  double  flats.  For  this  reason,  certain  modulations  from  one  key  to 
another  one,  adjacent  to  it  can  only  be  accomplished  enharmonically.  For 
instance,  the  transition  from  C  flat,  G  flat  or  D  flat,  major  to  their  minor  sub- 
dominant  chords  or  keys  is  not  possible  owing  to  double  flats.    It  is  therefore 

(I)  A  chromatic  harp  without  pedals  has  now  been  invented  in  France 
(Lyon's  system),  on  which  the  most  abrupt  modulations  are  possible. 

(Translator's  note.) 


—    29    — 

necessary  to  start  enharmonically  from  the  keys  of  B,  F  sharp  or  C  sharp, 
major.  Similarly,  on  account  of  double  sharps,  it  is  impossible  to  change  from 
A  sharp,  D  sharp  or  G  sharp,  minor  to  their  respective  dominant  major  chords 
or  keys;  B  flat,  E  flat  and  A  flat,  minor  must  be  the  starting-points. 

The  technical  operation  known  as  glissando  is  peculiar  to  the  harp 
alone.  Taking  for  granted  that  the  reader  is  conversant  with  the 
methods  of  acquiring  different  scales  by  means  of  double-notched 
pedals,  it  will  be  sufficient  to  remark  that  glissando  scales  produce 
a  discordant  medley  of  sound  owing  to  the  length  of  time  the 
strings  continue  to  vibrate,  and  therefore,  as  a  purely  musical 
effect,  glissando  can  only  be  used  in  the  upper  octaves,  quite  piano, 
where  the  sound  of  the  strings  is  sufficienty  clear,  yet  not  too 
prolonged.  Forte  glissando  scales,  entailing  the  use  of  the  lower 
and  middle  strings  are  only  permissible  as  embellishments.  Glis- 
sando passages  in  chords  of  the  seventh  and  ninth,  enharmonically 
obtained,  are  much  more  common,  and  as  the  above  reservations 
do  not  apply,  every  dynamic  shade  of  tone  is  possible.  Chords  in 
harmonics  can  only  consist  of  three  notes  written  close  together^ 
two  for  the  left  hand  and  one  for  the  right. 

The  tender  poetic  quality  of  the  harp  is  adapted  to  every  dy- 
namic shade,  but  it  is  never  a  very  powerful  instrument,  and  the 
orchestrator  should  treat  it  with  respect. 

At  least  three,  if  not  four  harps  in  unison  are  necessary,  if 
they  are  to  be  heard  against  a  full  orchestra  playing  forte.  The 
more  rapidly  a  glissando  passage  is  played,  the  louder  it  will  sound. 
Harmonic  notes  on  the  harp  have  great  charm  but  little  resonance, 
and  are  only  possible  played  quite  softly.  Speaking  generally,  the 
harp,  like  the  string  quartet,  pizzicato,  is  more  an  instrument  of 
colour  than  expression. 

Percussion  instruments  producing  determinate 
sounds,  keyed  instruments. 

Kettle-drums. 

Kettle-drums,  indispensable  to  every  theatre  and  concert  orchestra 
occupy  the  most  important  place  in  the  group  of  percussion  instru- 
ments. A  pair  of  kettle-drums  (Timpani),  in  the  tonic  and  domi- 
nant keys,  was  the  necessary  attribute  of  an  orchestra  up  to,  and 


—    30    — 

including  Beethoven's*  time,  but,  from,  the  middle  of  the  WJl  cen- 
tury onward,  in  western  Europe  and  in  Russia,  an  ever-increasing 
need  was  felt  for  the  presence  of  three  or  even  four  kettle-drums, 
during  the  whole  course  or  part  of  a  work.  If  the  expensive 
chromatic  drum,  permitting  instant  tuning  is  rarely  met  with,  still, 
in  the  majority  of  good  orchestras,  three  screw  drums  are  gene- 
rally to  be  found.  The  composer  can  therefore  tdke  it  for  granted 
that  a  good  timpanist,  having  three  kettle-drums  at  his  command,  will 
be  able  to  tune  at  least  one  of  them  during  a  pause  of  some  length. 
The  limits  of  possible  change  in  Beethoven's  time  was  consi- 
dered to  be: 

(chromaticatly)  (cV»w»*^'^*'^ 


Big  4|;  Small  4y 


kettle-drura :  ^.^  ■—  ^"  kettle-drum:   .     P 


In  these  days  it  is  difficult  to  define  the  precise  extent  of  high 
compass  in  the  kettle-drums,  as  this  depends  entirely  on  the  size 
and  quality  of  the  smallest  one,  of  which  there  are  many  kinds, 
but  I  advise  the  composer  to  select: 

CcMomaV.ca«V^ 


^ 


Note.  A  magnificent  kettle-drum  of  very  small  size  was  made  for  my  opera- 
ballet  Mlada;  this  instrument  gave  the  Z)>  of  the  fourtii  octave. 

Kettle-drums  are  capable  of  every  dynamic  shade  of  tone,  from 
thundering  fortissimo  to  a  barely  perceptible  pianissimo.  In  tre- 
molando  they  can  execute  the  most  gradual  crescendo,  diminuendOy 
the  sfp  and  morendo. 

To  deaden  the  sound,  a  piece  of  cloth  is  generally  placed  on 
the  skin  of  the  drum,  according  to  the  instruction:  timpani  coperti 
(muffled  drums). 

Piano  and  Celesta. 

The  use  of  a  piano  in  the  orchestra  (apart  from  pianoforte  con- 
certos) belongs  almost  entirely  to  the  russian  school  (1).  The  object 
is  two-fold:  the  quality  of  tone,  either  alone,  or  combined  with 

(1)  Rimsky-Korsakov's  opera  Sadko  and  Moussorgsky's  Boris  Godounov 
are  particularly  interesting  in  this  respect.  (Translator's  note.) 


—    31     — 

Table  D. 

Pizzicato. 


Violin. 


Viola. 


Violoncello. 


Double  bass.    ^ 


The  black  notes  are  dry  and  hard,  without  resonance,  and  should  only  be 
used  when  doubled  with  the  wood-wind. 


*  Table  E. 

Glockenspiel,  celesta,  xylophone. 


Glockenspiel 

(with  keyboard!. 


Glockenspiel 

(ordinary). 


Celesta. 


Xylophone. 


•)  This  note  is  often  missing. 


—     32     — 

that  of  the  harp,  is  made  to  imitate  a  popular  instrument,  the  guzli, 
(as  in  Glinka),  or  a  soft  peal  of  bells.  When  the  piano  forms  part 
of  an  orchestra,  not  as  a  solo  instrument,  an  upright  is  preferable 
to  a  grand,  but  today  the  piano  it  is  gradually  being  superseded  by 
the  celesta,  first  used  by  Tschaikovsky.  In  the  celesta,  small  steel 
plates  take  the  place  of  strings,  and  the  hammers  falling  on  them 
produce  a  delightful  sound,  very  similar  to  the  glockenspiel.  The 
celesta  is  only  found  in  full  orchestras;  when  it  is  not  available 
it  should  be  replaced  by  an  upright  piano,  and  not  the  glockenspiel. 

Glockenspiel,  Bells,  Xylophone. 

The  glockenspiel  (campanelli)  may  be  made  of  steel  bars,  or 
played  with  a  keyboard.  The  first  type  is  the  more  satisfactory 
and  posesses  greater  resonance.  The  use  of  the  glockenspiel  is 
similar  to  the  celesta,  but  its  tone  is  more  brilliant  and  pene- 
trating. Big  bells  in  the  shape  of  hollow  discs  or  metal  tubes  (1), 
or  real  church  bells  of  moderate  size  may  be  considered  more  as 
theatrical  properties  than  orchestral  instruments. 

The  xylophone  is  a  species  of  harmonica  composed  of  strips  or 
cylinders  of  wood,  struck  with  two  little  hammers.  It  produces  a 
clattering  sound,  both  powerful  and  piercing. 

To  complete  this  catalogue  of  sounds  mention  should  be  made 
of  the  strings  playing  col  legno,  that  is  with  the  wood  or  back  of 
the  bow.  The  sound  produced  is  similar  to  the  xylophone,  and 
gains  in  quality  as  the  number  of  players  is  increased. 

A  table  is  appended  showing  the  range  of 'the  celesta,  glocken- 
spiel and  xylophone. 

Percussion  instruments  producing  indefinite 

sounds. 

Instruments  in  this  group,  such  as  triangle,  castanets,  little  bells, 
tambourine,  switch  or  rod  {Rule.  Gen),  side  or  military  drum,  cym- 
bals, bass  drum,  and  Chinese  gong  do  not  take  any  harmonic  or 
melodic  part  in  the  orchestra,  and  can  only  be  considered  as 
ornamental  instruments  pure  and  simple.    They  have  no  intrinsic 

(1)  Recently,  bells  have  been  made  of  suspended  metal  plates  possessing  the 
rare  quality  of  a  fairly  pure  tone,  and  which  are  sufficiently  portable  to  be  used 
on  the  concert  platform.  (Editor's  note.) 


-    33    - 

musical  meaning,  and  are  just  mentioned  by  the  way.  The  first 
three  m^ay  be  considered  as  high,  the  four  following  as  medium^ 
and  the  last  two  as  deep  instruments.  This  may  serve  as  a  guide 
to  their  use  with  percussion  instruments  of  determinate  sounds, 
playing  in  corresponding  registers. 

Comparison  of  resonance  in  orchestral  groups  and 
combination  of  different  tone  qualities. 

In  comparing  the  resonance  of  the  respective  groups  of  sound- 
sustaining  instruments  we  arrive  at  the  following  approximate  con- 
clusions: 

In  the  most  resonant  group,  the  brass,  the  strongest  instruments 
are  the  trumpets,  trombones  and  tuba.  In  loud  passages  the  horns 
are  only  one-half  as  strong,  1  Trumpet  =  1  Trombone  =  1  Tuba 
=  2  Horns.  Wood-wind  instruments,  in  prte  passages,  are  twice 
as  weak  as  the  horns,  1  Horn  =  2  Clarinets  =  2  Oboes  =  2  Flutes 
=  2  Bassoons;  but,  in  piano  passages,  all  wind-instruments,  wood 
or  brass  are  of  fairly  equal  balance. 

It  is  more  difficult  to  establish  a  comparison  in  resonance  between 
wood-wind  and  strings,  as  everything  depends  on  the  number  of  the 
latter,  but,  in  an  orchestra  of  medium  formation,  it  may  be  taken  for 
granted  that  in  piano  passages,  the  whole  of  one  department  {all 
151  Violins  or  all  2!ii  Violins  etc.)  is  equivalent  in  strength  to  one  wind 
instrument,  (Violins  I  =  1  Flute  etc.),  and,  in  jorte  passages,  to  two 
wind  instruments,  (Violins  I  =  2  Flutes  =  1  Oboe  +  1  Clarinet,  etc.). 

It  is  still  harder  to  form  a  comparison  with  instruments  of  little 
sustaining  power,  for  too  great  a  diversity  in  production  and  emission 
of  sound  exists.  The  combined  force  of  groups  of  sustained  resonance 
easily  overpowers  the  strings  played  pizz.  or  col  legno,  the  piano 
played  softly,  or  the  celesta.  As  regards  the  glockenspiel,  bells,  and 
xylophone,  their  emphatic  tone  will  easily  prevail  over  other  groups  in 
combination.  The  same  may  be  said  of  the  kettle-drums  with  their 
ringing,  resounding  quality,  and  also  of  other  subsidiary  instruments. 

The  influence  of  the  timbre  of  one  group  on  another  is  noticeable 
when  the  groups  are  doubled;  for  instance,  when  the  wood-wind 
timbre  is  closely  allied  to  the  strings  on  the  one  hand,  and  to  the 
brass  on  the  other.  Re-inforcing  both,  the  wind  thickens  the  strings 


34 


and  softens  the  brass.  The  strings  do  not  blend  so  well  with  the 
brass,  and  when  the  two  groups  are  placed  side  by  side,  each  is 
heard  too  distinctly.  The  combination  of  the  three  different  timbres 
in  unison  produces  a  rich,  mellow  and  coherent  tone. 

All,  or  several  wind  instruments  in  combination  will  absorb  one 
department  of. added  strings: 

2  Fl.    +2  Ob.    +  Vni  I, 
or:  2  Ob.  +  2  CI.     +  Violas, 
or:  2  CI."  4-  2  Fag.  4-  'Cellos. 

One  department  of  strings  added  to  the  wood-wind  in  unison 
produces  a  sweet  coherent  q^uality,  the  wood-wind  timbre  still 
predominating;  but  the  addition  of  one  wind  instrument  to  all  or 
part  of  the  strings  in  unison,  only  thickens  the  resonance  of  the 
latter,  the  wood-wind  timbre  being  lost  in  the  process: 

Vni  I      +  Vni  II        -f  1  Ob., 
or:  Violas   +  'Cellos       +  1  CI. 
or:  'Cellos  -j-  D.  basses  +  1  F^g- 

Muted  strings  do  not  combine  so  well  with  wood-wind,  as  the 
two  tone  qualities  remain  distinct  and  separate.  Uniting  plucked 
strings  and  percussion  with  instruments  of  sustained  resonance 
results  in  the  following:  wind  instruments,  wood  and  brass,  strengthen 
and  clarify  pizzicato  strings,  harp,  kettle-drums  and  percussion 
generally,  the  latter  lending  a  touch  of  relief  to  the  tone  of  the 
wood-wind.  Uniting  plucked  strings  and  percussion  with  bowed 
instruments  does  not  produce  such  a  satisfactory  blend,  both  qualities 
being  heard  independently.  The  combination  of  plucked  strings 
with  percussion  alone,  is  excellent;  the  two  blend  perfectly,  and  the 
consequent  increase  in  resonance  yields  an  admirable  effect. 

The  relationship  which  exists  between  string  harmonics  and  the 
flute  or  piccolo  constitutes  a  link  between  the  two  groups  in  the 
upper  range  of  the  orchestra.  Moreover,  the  timbre  of  the  viola 
may  be  vaguely  compared  to  the  middle  register  of  the  bassoon 
and  the  lowest  compass  of  the  clarinet;  hence,  in  the  medium 
orchestral  range,  a  point  of  contact  is  established  between  the 
quartet  of  strings  and  the  wood-wind. 

The  bassoon  and  horn  provide  the  connection  between  wood- 
wind and  brass,  these  two  instruments  being  somewhat  analogous 


^ 


-    35     — 

in  character  when  played  piano  or  mezzo- forte;  the  flute  also,  in  its 
lowest  register,  recalls  the  pianissimo  trumpet  tone.  Stopped 
and  muted  notes  in  horns  and  trumpets  are  similar  in  quality  to 
the  oboe  and  Eng.  horn,  and  blend  tolerably  well  with  the  latter 
instrument. 

Concluding  this  survey  of  orchestral  groups  I  add  a  few  remarks 
which  seem  to  me  of  special  importance. 

The  principal  part  in  music  is  undertaken  by  three  instrumental 
groups  of  sustained  resonance,  representing  the  three  primary  ele- 
ments, melody,  harmony  and  rhythm.  Instruments  of  little  sustaining 
power,  though  sometimes  used  independently,  are  chiefly  employed 
for  ornament  and  colour;  instruments  producing  indeterminate  sounds 
play  no  melodic  or  harmonic  part,  their  functions  being  purely 
rhythmical. 

By  glancing  at  the  order  in  which  the  six  orchestral  groups  are 
placed,  strings,  wood-wind,  brass,  plucked  strings,  percussion  pro- 
ducing definite,  and  those  producing  indefinite  sounds,  the  reader 
will  be  able  to  determine  the  part  played  by  each  in  the  art  of 
orchestration,  from  the  secondary  standpoint  of  colour  and  expression. 
As  regards  expression,  the  strings  come  first,  and  the  expressive 
capacity  of  the  other  groups  diminishes  in  the  above  order,  colour 
being  the  only  attribute  of  the  last  group  of  percussion  instruments. 

The  same  order  obtains  from  the  standpoint  of  general  effect  in 
orchestration.  We  can  listen  to  strings  for  an  almost  indefinite 
period  of  time  without  getting  tired,  so  varied  are  their  characteristics 
{vide  the  number  of  string  quartets,  suites,  serenades  etc.  written 
for  strings  alone).  The  addition  of  a  single  group  of  strings  will 
add  lustre  to  a  passage  for  wind  instruments.  On  the  other  hand, 
the  quality  of  wind  instruments  soon  becomes  wearisome;  the  same 
may  be  said  of  plucked  strings,  and  also  percussion  of  every  kind 
which  should  only  be  employed  at  reasonable  intervals  in  orchestral 
composition. 

It  cannot  be  denied  that  the  constant  use  of  compound  timbres, 
in  pair's,  in  three's  etc.  eliminates  characteristics  of  tone,  and  pro- 
duces a  dull,  neutral  texture,  whereas  the  employment  of  simple, 
elementary  combinations  gives  infinitely  greater  scope  for  variety 

'"  '=°"'"-  7  (20)  June  1908. 


Chapter  II. 

MELODY. 


Whether  it  be  long  or  short,  a  simple  theme  or  a  melodic  phrase, 
melody  should  always  stand  out  in  relief  from  the  accompaniment. 
This  may  be  done  by  artificial  or  natural  means;  artificially,  when 
the  question  of  tone  quality  does  not  come  into  consideration,  and 
the  melody  is  detached  by  means  of  strongly  accentuated  dynamic 
shades;  naturally,  by  selection  and  contrast  of  timbres,  strengthening 
of  resonance  by  doubling,  tripling,  etc.,  or  crossing  of  parts  (violon- 
cellos above  the  violas  and  violins,  clarinets  or  oboes  above  the 
flutes,  bassoons  above  the  clarinets  etc.). 

Melody  planned  in  the  upper  parts  stands  out  from  the  very 
fact  of  position  alone,  and  likewise,  to  a  less  degree  when  it  is 
situated  in  the  low  register.  In  the  middle  of  the  orchestral  range 
it  is  not  so  prominent  and  the  methods  referred  to  above  come 
into  operation.  They  may  also  be  employed  for  two  part  melody 
(in  thirds  and  sixths)  and  for  polyphonic  writing. 

Melody  in  stringed  instruments. 

Instances  of  the  melodic  use  of  stringed  instruments  are  in- 
numerable. The  reader  will  find  many  examples  in  the  pre- 
sent treatise.  With  the  exception  of  the  double  basses,  —  dull 
in  tone  and  of  little  flexibility,  chiefly  employed  in  unison  or  in 
octaves  with  the  violoncellos,  —  each  of  the  other  stringed  in- 
struments, taken  independently,  is  qualified  to  assume  full  respon- 
sibility for  the  melodic  line. 


—    37     — 

a)  Violins. 

Melody  in  the  soprano-alto  register  and  an  extra-high  compass 
usually  falls  to  the  lot  of  the  151  Violins,  sometimes  to  the  2ni  Vio- 
lins or  to  both  in  unison,  a  process  which  produces  fuller  re- 
sonance without  impairing  quality  of  tone. 

Examples: 


The  Tsar's  Bride  [84j.  —  Pianissimo  melody  (Vnil)  of  a  troubled, 
dramatic  character.  Harmonic  accompaniment  (Vn?-!!  and  Vio- 
las tremolando  —  middle  parts;  the  Violincellos  forming  the  bass). 


Antar,  before    70  .  —  Descending  melodic  phrase,  Vn^I  con  sor- 
dini piano. 


No.  1.    Sheherazade  2iil  movement   B  .    A  piano  melody  (Vnil) 
graceful  in  character. 


Antar  12  .  Light  graceful  melody,  oriental  in  style;  a  dance 
measure  (Vnil  con  sord.),  the  mutes  producing  a  dull  ethereal 
quality  of  tone. 


No.  2.    The  Legend  of  the  Invisible  City  of  Kiiesh  [283 

No.  3.    Spanish  Capriccio  [T\.    Vni  I    in    the   upper   register 

doubling  the  high  register  of  the  wood-wind.    Choice  resonance. 

b)  Violas. 

Melody  in  the  alto-tenor  register  and  a  still  higher  compass  is 
assigned  to  the  violas.  Cantabile  melodies  however  are  not  so 
frequently  written  for  violas  as  for  violins  and  'cellos,  partly  be- 
cause the  viola  tone  is  slightly  nasal  in  quality  and  better  fitted  for 
short  characteristic  phrases,  partly  because  the  number  of  viola 
players  in  an  orchestra  is  smaller.  Melodies  confided  to  the  vio- 
las are  generally  doubled  by  other  strings  or  by  the  wood-wind. 

Examples: 


No.  4.    Pan  Voyevoda,  duet  in  Act  II    145  .    A  long  cantabile 


melody  in  the  violas,  dolce,  in  unison  with  the  mezzo  soprano  voice. 


No.  5.    The  Golden  Cockerel   193  .  —  Flowing  cantabile. 


No.  6.   Sadko.    Symphonic  tableau    12.  —  Muted  violas.  A  short 


dance  theme,  piano  in  D\>  major.    (The  same  theme  in  Eng.  horn 


—    38    — 

in  the  6i!i  ^ene  of  the  opera  Sadko  is  slightly  more  penetrating 
in  tone). 

c)  Violoncellos. 

Violoncellos,  representing  the  tenor-bass  range  +  an  extra-high 
compass  are  more  often  entrusted  with  tense  passionate  cantabile 
melody  than  with  distinctive  figures  or  rapid  phrases.  Such  me- 
lodies are  usually  laid  out  for  the  top  string  (A)  which  possesses 
a  wonderfully  rich  "chest"  quality. 

Examples: 

Cantabile  on  the  A  string. 

The  same   melody  in  Dl>  maj.   on  the  D  string 
(doubled  by  the  bassoons). 


Antar  [56 
Antar  [63 


No.  7.  Pan  Voyevoda  134  ,  nocturne,  "Moonlight".  A  broad 
melody  dolce  ed  espressivo,  afterwards  doubled  by  the  first  violins 
an  octave  higher. 


No.  8.  Snegourotchka  231  .  At  the  fifth  bar,  a  melody  on  the 
A  string  cantabile  ed  espressivo,  imitating  the  first  clarinet. 

No.  9.  Snegourotchka  [274J.    Melodic  phrase  with  embellishments. 

d)  Double  basses. 

Owing  to  its  register— basso  profondo  -{-  a  still  lower  compass,  — 
and  its  muffled  resonance,  the  double  bass  is  little  capable  of 
broad  cantabile  phrases  and  only  in  unison  or  in  octaves  with  the 
'cellos.  In  my  own  compositions  there  is  no  phrase  of  any  im- 
portance given  to  the  double  bass  without  the  support  of  'cellos 
or  bassoons. 

Examples: 


*No.  10.    Legend  of  Kitesh    306  .    Double  bass  solo,  doubled 


first  by  the  double  bassoon,  later  by  the  bassoon.  This  example 
affords  an  instance  of  the  rare  use  of  the  alto  clef  (in  the  last 
few  notes). 


*No.  11.    The  Golden  Cockerel   120  .  —  D.  basses  +  D-  bassoons. 


—    39    — 

Grouping  in  unison. 

a)  Vnil  -j-  Vnill.  —  It  goes  without  saying  that  this  combination 
entails  no  alteration  in  colour;  it  gains  in  power  and  richness  of 
tone  by  reason  of  the  increased  number  of  players,  and  is  usually 
attended  by  doubling  of  the  melody  in  some  departments  of  the 
wood-wind.  The  large  number  of  violins  prevents  the  wood-wind 
predominating,  and  the  tone  quality  remains  that  of  the  string 
quartet,  enriched  and  amplified. 

Examples: 

No.  12.  Sfieherazade,  beginning  of  the  third  movement,  Cantabile 
for  Vnil  and  I!  on  the  D  string,  then  on  the  A. 


The  May  Night,  overture    D  .  Quick  piano  melody,  beginning 

cantabile  and  divided  later  in  octaves  (vnsn]^)  with  florid  em- 
bellishment. 


No.  13.     The  Golden  Cockerel    no  .  —  Vnil  +  II  muted 


b)  Violins  -j-  Violas.  —  The  combination  of  violins  and  violas 
presents  no  special  characteristics,  as  in  the  preceding  case.  The 
violins  remain  predominant,  and  the  resonance  is  rich  and  full. 

Examples: 


No.  14.  Sadko  [2O8J.  —  Vnil  +  II  +  Violas  (G  string).  Quiet 
cantabile  melody  pp,  in  unison  with  the  altos  and  tenors  of  the 
chorus. 


The  Golden  Cockerel    142  .  —  Same  combination. 


c)  Violas  + 'Cellos.  —  Produces  a  rich  full  resonance,  the  'cello 
quality  predominating. 

Examples: 

No.  15.  Snegourotchka  |T].  —  Apparition  of  Spring.  Violas  -[- 
'Cellos  4"  Eng.  horn.  The  same  melody,  mezzo-forte  cantabile  as  in 
Ex.  9;  but  in  a  brighter  key,  a  third  higher,  its  resonance  is  more 
brilliant  and  tense.  The  addition  of  the  Eng.  horn  makes  no 
essential  differer'ce  to  the  compound  tone;  the  'cellos  stand  out 
above  the  rest. 

No.  16.     The  Golden  Cockerel  [t^.    Violas  +  'Cellos  muted. 


\ 


40 


d)  Violins  -)-  'Cellos.  —  A  combination  similar  to  the  preceding 
one.    The  'cello  tone  prevails  and  the  resonance  is  fuller. 

Examples: 


Nr.  17.  Snegourotchka  |288|.  "Spring  descends  upon  the  lake." 
Vni.  1  +  Vni-  11  +  'Cellos  -f  Eng.  horn.  The  same  cantabile  as  in 
Ex.9,  and  15.  The  Eng. horn  is  absorbed  in  the  musical  texture,  the 
principal  colour  being  that  of  the  'cellos.  Still  more  powerful  in 
resonance. 

No.  18.  The  May  Night.  Act  III  [T].  Chorus  of  Roussdlki. 
The  combination  of  the  solo  'cello  with  the  violins  gives  the  latter 
a  touch  of  the  'cello  timbre. 

e)  Vn5- 1  -j-  H  -|-  Violas  -f-  'Cellos.  —  Combining  violins,  violas  and 
'cellos  in  unison  is  not  possible  except  in  the  alto-tenor  register; 
this  process  unites  the  full  resonance  of  the  instruments  into  an 
ensemble  of  complex  quality,  very  tense  and  powerful  in  forte  passa- 
ges, extremely  full  and  rich  in  piano. 

Examples: 
No.  19.   Sheherazade,  2ni  movement    P  .  —  Energetic  phrase  //. 
Mlada,  Lithuanian  dance,  before  [adj. 


Mlada,  Act.  III.    40  .  —  Cleopatra's  dance.   Cantabile  embellished 
in  oriental  fashion. 

f)  Violoncellos -|- E^-  basses.  —  A  combination  of  rich  full  reso- 
nance, used  occasionally  for  nhrases  in  the  very  low  register. 

Examples: 


No.  20.  Sadko  260|.  —  A  persistent  forte  figure,  severe  in 
character. 

No.  21.  Legend  of  Kitesh  [240].  —  A  pianissimo  phrase,  sinister 
and  horrible  in  charaqter. 

Stringed  instruments  doubling  in  octaves. 

a)  Vnil  and  Vn^-ll  in  octaves. 

This  is  a  very  common  process  used  for  all  k.nds  of  melodic 
figures,  in  particular  those  in  the  very  high  register.  It  has  al- 
ready been  stated  that  the  £. string  diminishes  in  fulness  of  tone 


—    41     — 

the  higher  it  ascends  from  the  limits  of  the  soprano  voice.  More- 
over, melodic  figures  in  the  very  high  register  of  the  violins  become 
too  isolated  from  the  rest  of  the  ensemble  unless  doubled  in  octaves. 
Such  doubling  secures  expression,  fulness  of  tone  and  firmness  of 
timbre.  The  reader  will  find  numerous  examples  of  violins  in 
octaves;  a  few  are  added  below,  chiefly  broad  and  expressive 
phrases. 

Examples  : 


No.  22.    The  Tsar's  Bride    166  .    Cantabile,  piano 


The  Tsar's  Bride  |206|.  Cantabile,  mezzo-piano;  the  lower  part 
is  in  unison  with  the  soprano  voice. 

Sheherazade,  3^  movement  [T[.  Cantabile  in  G  major;  dolce  and 
cantabile  (the  same  as  Ex.  12). 


No.  23.  The  Legend  of  Tsar  Saltan  \221j.  Melody  with  reite- 
rated notes,  dolce,  espress.  e  cantabile. 

Sadko,  Symphonic  tableau  12  .  yUf-iJ]  8  muted,  A  short  dance 
phrase  pianissimo,  given  first  to  the  violas,  thei;  to  the  violins 
(cf.  Ex.  6). 


No.  24.    Sadko,  opera    207  .    Perhaps    an    unique  example  of 


its  kind;  violins  playing  in  the  very  extremity  of  the  high  register. 

Note.  This  passage  is  difficult  but  nevertheless  quite  playable.  One  or  two 
desks  of  the  Isl  Violins  are  sufficient  to  double  the  melody  in  the  upper  octave, 
all  the  other  151  Violins  can  play  the  octave  below.  In  this  way  the  piercing 
quality  of  the  highest  notes  will  be  diminished,  the  melody  will  acquire  a  clearer 
and  more  pleasant  sound,  and  the  expressive  tone  quality  of  the  lower  octave 
will  be  strengthened. 


*  The  Golden  Cockerel    156 


165 


11 


*  Antar,  1-^  movement 

*  No.  25.    Ivan  the  Terrible,  Act  III  [63 


b)  Violins  divisi  in  octaves. 

First  and  second  violins  divided  in  two  parts  and  progressing 
in  octaves  will  deprive  the  melody  of  resonance,  since  the  number 
of  players  is  diminished  by  half,  the  consequences  being  specially 
noticeable  in  small  orchestras.  Nevertheless  the  method  can  be 
used  occasionally  when  the  strings  are  doubled  by  the  wood-wind, 
and  when  the  melody  falls  in  a  sufficiently  high  register. 


—     42    — 


Examples. 
Snegourotchka    \^.  —   vns'iij  ^  mezzo-forte  espressivo.    Partial 


doubling  of  Coupava's  song  (Sopr.).   One  flute  and  one  oboe  double 
the  melody. 

No.  26.  Snegourotchka  [^.  —  Chorus  of  Flowers  —  vn\""-f  fi  i]  ^• 
Pianissimo  cantabile  in  two  octaves,  progressing  with  the  women's 
chorus  (Sopr.  I),  and  given  out  earlier  by  the  Eng.  horn.  The  flute 
and  all  the  l^i  Violins  except  two  play  in  the  lower  octave,  the 
two  solo  violins,  only,  in  the  upper.  The  solo  desk  will  be  suffi- 
ciently prominent  owing  to  the  general  pianissimo. 

c)  Violins  and  Violas  in  octaves. 

First  and  second  Violins  progressing  with  the  Violas  in  octaves 
is  a  common  method,  especially  when  the  lower  octave  in  the 
melody  happens  to  go  below  the  open  G  string  on  the  violins. 

.    VniOorlin,, 
^'  Violas  J  ^• 

Example: 
Snegourotchka  [TaT],  finale  of  Act  1.    Quick  melody,  piano. 

ry    Vni  I  +  in  -,    Vnl  I  1  „ 

2-  Violas       J^  ^"^  3-  Vnlll  +  ViolasJ^- 

These   two   distributions   are   not  exactly  the  same.     The  first 

should  be  used  to  obtain  greater  brilliance  in  the  upper  part,  the 

second  to  give  the  lower  part  a  fuller  and  more  cantabile  quality. 

Examples: 
No.  27.    Sadko,  before  [TsT].  —  yfjj^'s^  "]  8.     Quick    animated 


passage,  forte,  introducing  reiterated  notes. 
No.  28.    Snegourotchka  [Ta?],  finale  to  Act  I  —  vSl  n  +  vioiasj  ^• 


Cantabile  phrase,  transmitted  to  the  flute  and  clarinet  (cf.  Ex.  8). 

d)  Violas  and  Violoncellos  in  octaves. 

Of  special  use  when  the  Violins  are  otherwise  employed. 

Example: 
*  Legend  of  Kitesh  [so],  cSios]  ^'  ^^^^^^^  ^y  bassoons. 

e)  Violins  and  Violoncellos  in  octaves. 

Used  in  very  expressive  passages  where  the  'cellos  have  to  play 
on  the  .4  or  D  strings.  This  method  produces  a  more  resonant 
tone  than  the  preceding  one;  instances  of  it  are  frequent. 


—    43    — 


Examples: 
No.  29.    ^nfar  [43]. -y^"|l/^+V"^"]8.     Cantabile    of    Eastern 


origin. 
Sheherazade,  S'-^  movement  [hI.  —  X."^,'  ]  8.     Cantabile  mezzo- 


•CellosJ 


forte  appassionato  (cf.  Ex.  1). 

*  No.  30.  Shererazade,  3'A  movement,  before  [p]  —  ^[]J  ,J  ^  -cenos]  ^ 
and  ^liios    ']  8-    The  first  arrangement  is  rarely  found. 

Pan  Voyevoda  |i34|,  nocturne  "Moonlight"  —  ^q'^I^^  8.   Canta- 


bile melody  given  first  to  'cellos  alone  (cf.  Ex.  7). 

The  Mcy  Night,  Act  III  |b,c,d]  —  ^0^,0+^"-"]  8-  A  forte  me- 


lodic phrase. 

f)  Violoncellos  and  Double  basses  in  octaves. 

The  bass  is  usually  constructed  in  this  manner.  Examples  of 
it  are  to  be  found  everywhere.  Sometimes  the  double  bass  part 
is  simplified  in  comparison  with  the  'cello  part. 

Example: 
Snegourotchka  [9],  Fairy  Spring's  Aria. 

g)  Violas  and  Double  basses  in  octaves. 

This  combination  seldom  arises  and  is  only  used  when  the 
'cellos  are  otherwise  employed. 

Example: 
No.  31.    Legend  of  Kitesh 


223 


h)  Parts  progressing  in  octaves,  each  part  doubled  in  unison. 
Melodies  situated  in  the  middle  orchestral  range  may  be  allotted- 
to  151  and  22^  Vni,  in  octaves  with  Violas  and  'Cellos.  This  arrange- 
ment is  constantly  found,  and  produces  a  beautiful  quality  of  tone, 
somewhat  severe  in  character. 

Examples: 
Snegoarotchka\^,  feol,  [65]  and  [is].    The  same  melody,  played 


twice  pianissimo,  not  doubled,  then  twice  (mezzo-forte  and  forte), 
doubled  in  the  wood-wind. 


~    44    — 

Mlada,  Act  II,  the  beginning  of  the  Lithuanian  dance.  A  lively 
piano  theme. 

Ivan  the   Terrible,  Act  II 


28 


Note  I.  It  may  be  of  use  to  point  out  that  melodies  lying  in 
the  extreme  upper  register,  e.  g.  those  exceeding  the  middle  of  the 
5t!L  octave,  are  generally  doubled  an  octave  below,  whilst  those 
situated  in  the  extreme  low  register  (below  the  middle  of  the 
l2l  octave)  are  doubled  an  octave  higher. 

Examples: 


Sadko  [207j  (cf.  Ex.  24). 

Note  II.    Progression  in  octaves  of  divided  strings  of  the  same 
kind  is  generally  to  be  avoided: 

Violas  I     'Cellos  I      D.  basses  11  <j 
Violas  ir'   'Cellos  H  '    D.  basses  IlJ  ^' 

for,  in  such  cases  the  parts  are  played  on  strings  which  do  not 

correspond,  and  unity  of  tone  is  impaired.    This,  however,  does 

not  apply  to  violins. 

Note  III.    The  following  distribution  is  occasionally  found: 

Violas       +  'Cellos  I]  „ 
D.  basses  +  'Cellos  IlJ  °' 

Melody  in  double  octaves. 

Vns    I]  8        Vni  I  ]  8 

a)  Vni  in  a  or  vni.  nig  may  be  used  for  full  cantabile  melodies 

ViolasJ  °        'CellosJ  ° 
extremely  tense  in  character,  and  in  forte  passages  for  choice. 


Example: 


No.  32.    Antar 


65 


Vni  I  ]  8. 

Violas  +  'CellosJ  ^* 


—  Vni  11 


Violas       ]  8        Vns  I  +  II  ]  8        Vni  I  +  II  +  Violas 

b)  'Cellos     1  8  or  Violas  +  'Cellos]  g  or  'Cellos 
D.  bassesj  D.  basses  J  D.  basses 

are  employed  when  the  low  register  of  each  instrument  in  brought 

into  play,  and  also  to  suit  phrases  of  a  rough  and  severe  character. 

Examples: 


Legend  of  Kitesh   66  ,  opening  of  the  2iii  Act. 


No.  33.    Snegourotchka  [2j5j.    Tumblers'  dance. 


—    45     — 

Note.    The  lack  of  balance  in  the  distribution: 

Vni  I +11  + Violas]  8 
'Cellos  1  g 

D.  basses  J 

is  not  of  any  great  importance,  for,  in  such  cases,  the  partial  har- 
monics of  one  octave  support  the  tone  of  the  other,  and  vice  versa. 


Doubling  in  three  and  four  octaves. 

Vni  1         1 8 
Vnlll         18 
The  distribution  violas      \  „  is  very  seldom  found,  and  as  a  rule, 
'Cellos      I  ^ 
D.  basses  J  8 

only  when  supported  by  wind  instruments. 

Examples: 


The  Legend  of  Kitesh   150    (allargando) 


*  Sheherazade,  4i!i  movement,  commercing  at  the  lO'iibar. 

Vnil  1 

Vns  II  \  ^ 

Violas  +  'Cellos  \  °* 
D.  basses  ] 


Melody  in  thirds  and  sixths. 

In  confiding  a  melody  in  thirds  to  the  strings  it  is  frequently 
necessary  to  use  the  same  quality  of  tone  in  both  parts,  but  in  the 
case  of  a  melody  in  sixths  different  timbres  may  be  employed.  In 
writing  thirds  doubled  in  octaves,  the  first  and  second  violins  should 
be  used.  In  spite  of  the  difference  in  the  quantity  of  players,  the 
thirds  will  not  sound  unequal.  The  same  arrangement  may  obtain 
in  the  viola  and  'cello  groups,  but  it  is  useless  in  the  case  of 
melody  in  sixths. 

Examples: 

•No.  34.    Legend  of  Kitesh  g  -  Vn|,}  ^Jv.)^  ^j  g 

*  Legend  of  Kitesh 

IS  n 
liii  / 


Cf.  also  Legend  of  Kitesh 


_  Vni  I  "i , 

ViolasJ    • 
Vns 
Vni 


223 


Vns   1  \  , 

Vni  II ;  -^ 


8  (Ex.  31). 


Distribution  in  octaves,  thirds,  and  sixths  is  usually  regulated  by 
the  normal  register  of  the  respective  instruments,  so  as  to  avoid 


46    — 


any  suggestion  of  mannerism  resulting  from  the  disturbance  of 
balance.  But  such  a  departure  from  the  recognised  order  may  be 
permitted  in  special  cases.  For  instance,  in  the  following  example 
of  writing  in  sixths  the  upper  part  is  allotted  to  the  'cellos,  the 
lower  part  to  the  violins  on  the  G  string;  this  arrangement  produces 
a  quality  of  tone  distinctly  original  in  character. 


Example- 
No.  35.    Spanish  Capriccio 


'Cellos     1 . 
Vnil  +  IlJ^- 


Melody  in  the  wood-wind. 

*The  choice  of  instruments  for  characteristic  and  expressive 
melody  is  based  on  their  distinctive  qualities,  discussed  minutely 
in  the  foregoing  chapter.  To  a  large  extent  the  question  is  left  to 
the  orchestrator  s  own  personal  taste.  Only  the  best  methods  of 
using  the  wood-wind  in  unison  or  octaves,  and  distributing  a  melody 
in  thirds,  sixths  and  mixed  intervals,  from  the  standpoint  of  reso- 
nance and  tone  quality  will  be  indicated  in  this  section  of  the 
work.  Examples  of  the  use  of  solo  wood-wind  are  to  be  found 
in  any  score;  the  following  are  typical  instances: 


Examples  of  solo  wood-wind: 

1.  Piccolo:  Serbian  Fantasia 
Snegourotchka  [54]. 

2.  Flute:  Antar  [T|;  Servilia 


No.  36.     Tsar  Saltan 


216 


80 


Snegourotchka 


79 


163 


Fairy  Tale  [l];  The  Cht^stmas  Night 

4^  movement,  before  [ajn(F/.  a  2  in  the  low  register). 
F/ufe  (double  tonguing):  Pan  Voyevoda 


183 


No.  37.   Sheherazade, 


72 


;  Sheherazade,  4ln  move- 


10 


ment,  after  |T];  No.  38.    Ivan  the  Terrible,  Act  III,  after 

3.  Bass  flute:  No.  39.    Legend  of  Kitesh  [44]. 

4.  Oboe:  No.  40.  Sheherazade,  2ii^  movement  [a];  The  May  Nighty 
;  No.  41.   Snegourotchka  [so];  Snegourotchka 


Kk 


112 


239 


Act  HI  

The  Tsar's  Bride  [m\  (cf.  Ex.  284),  No.  42  and  43.     The  Golden 
Cockerel    57    and  [97". 

5.  Eng.horn:  Snegourotchkaf^, [283  (cf. Ex. 26);  No. 44.  Spanish 
Capriccio 


No.  45.     The  Golden  Cockerel   61 


—     47 


6.  Small  Clarinet:  No.  46.  Mlada,  Act  II  [33];  M/flda,  Act  III  [37]. 

7.  Clarinet:  Serbian  Fantasia  [g];  Spanish.  Capriccio  [a];  5ne- 
gourotchka  [90],  [99],  [224],  [227],  [231]  (cf.  Ex.  8);  T/i^  May  Night, 

;  >^  Ffliry  To/e 
(lowest 


Act  I,  before    x  ;  Sheherazade,  3i^  movement 


D 


203 


The  Golden  Cockerel 


97 


[m];  T/ie  Tsar's  5nd^  |^, 
register,  cf.  Ex.  43). 
8.  Bass  clarinet:  No.  47  and  48.  Snegourotchka   243  and  [246- 2'47 


9.  Bassoon:  Antar  [59];  No. 49.    Vera  Scheloga  [36];  Sheherazade, 
2n^  movement,  beginning  (cf.  Ex.  40);  No.  50.    The  Golden  Cockerel 
;  No.  51.  Mlada,  Act  III,  after  [29];  cf.  also  Ex.  78. 

;  cf.  also 


249 


84 


289 


10.  Double  bassoon:  Legend  of  Kitesh,  before 
Ex.  10  (D.  bassoon  ~\-  D.  bass  solo). 

The  normal  order  of  wood-wind  instruments  and  that  which 
produces  the  most  natural  resonance  is  the  following:  Flutes,  Oboes, 
Clarinets,  Bassoons  (the  order  used  in  orchestral  full  scores).  De- 
parture from  this  natural  order,  e.g.  placing  bassoons  above  clarinets 
and  oboes,  or  flutes  below  oboes  and  clarinets,  and  especially 
below  the  bassoons,  creates  a  far-fetched,  unnatural  tone,  useful, 
however,  in  certain  cases  to  attain  certain  special  effects.  I  do 
not  advise  the  student  to  make  too  free  a  use  of  this  proceeding. 


Combination  in  unison. 

The  combination  of  two  different  wood-wind  instruments  in  unison 
yields  the  following  tone  qualities: 

a)  Flute  -\-  Oboe.  A  quality  fuller  than  that  of  the  flute,  sweeter 
than  that  of  the  oboe.  Played  softly,  the  flute  will  predominate 
in  the  low,  the  oboe  in  the  upper  register.  Example:  No.  52. 
Snegourotchka  |TT3~|. 

b)  Flute  +  Clarinet.  A  quality  fuller  than  that  of  the  flute,  duller 
than  that  of  the  clarinet.  The  flute  will  predominate  in  the  lower, 
the  clarinet  in  the  higher  register.  Examples:  No.  53.  Legend  of 
Kitesh  1 330 1;  also 


339 

and 

342 

c)  Oboe  -h  Clarinet.  A  fuller  quality  than  that  of  either  instrument 
heard  separately.  The  dark,  nasal  tone  of  the  oboe  will  prevail  in 
the  low  register,  the  bright,  "chest"  quality  of  the  clarinet  in  the 


high  compass.  Examples:  Snegourotchka  |_i9j;  No.  54.  Snegourotchka 


—     48    — 

lis].     Cf.  also  Legend  of  Kitesh  [os],  [to],  [iT]  —  2  Ob.  +  3  CI. 
(Ex.  199—201). 

d)  Flute  +  Oboe  +  Clarinet.  Very  full  in  quality.  The  flute  pre- 
dominates in  the  low  register,  the  oboe  in  the  middle,  and  the 
clarinet  in  the  high  compass.  Examples:  Mlada,  Act  I  [T];  *  Sadko 
[58]  (2  Fl.  +  2  Ob.  -f  Small  CI.). 

e)  Bassoon  +  Clarinet,  Very  full  quality.  The  gloomy  character 
of  the  clarinet  prevails  in  the  lower  register,  the  sickly  quality  of 
the  bassoon  in  the  higher.    Example:  Mlada,  Act  II,  after  [49]. 

f)  Bassoon  -f-  Oboe,  and 

g)  Bassoon  +  Flute. 

The  combinations  /  and  g,  as  well  as  Bassoon  +  Clarinet  -{-  Oboe, 
and  Bassoon  -\-  Clarinet  +  Flute  are  very  seldom  found  except  in 
certain  orchestral  tutti,  where  they  produce  increased  resonance 
without  creating  a  fresh  atmosphere.  But  in  such  combinations, 
the  range  of  which  is  practically  restricted  to  the  limits  of  the 
third  octave,  the  low  notes  of  the  flute  will  predominate  in  the 
lower  third  of  this  register,  and  the  high  notes  of  the  bassoon  in 
the  middle  third.  The  clarinet,  weak  in  the  middle  compass  will 
not  stand  out  prominently  in  this  particular  combination. 

h)  Bassoon  -\-  Clarinet  -\-  Oboe  -j-  Flute.  This  combination  is  equally  \ 

rare.    The  colour  is  rich,  and  difficult  to  define  in  words.    The  j 

tone  of  each  instrument  will  be  separated  from  the  others  more 
or  less  in  the  manner  detailed  above.  Examples:  Russian  Easter 
Fite,  the  beginning;  No.  55.  Snegourotchka  |30i|;  The  May  Night, 
Act  III 


Oqq 


The  process  of  combining  two  or  more  qualities  of  tone  is  unison, 
while  endowing  the  music  with  greaterresonance,sweetness and  power, 
possesses  the  disadvantage  of  restricting  the  variety  of  colour  and  ex- 
pression. Individual  timbres  lose  their  characteristics  when  associated 
with  others.  Hence  such  combinations  should  be  handled  with 
extreme  care.  Phrases  or  melodies  demanding  diversity  of  ex- 
pression alone  should  be  entrusted  to  solo  instruments  of  simple  timbres. 
The  same  applies  to  the  coupling  of  two  instruments  of  the  same 
kind,  such  as  2  flutes,  2  oboes,  2  clarinets,  2  bassoons.  The  quality 
of  tone  will  lose  nothing  of  its  individuality,  and  will  gain  in  power, 
but  its  capacity  for  expression  will  be  diminished  accordingly.    An 


—    49    — 

instrument  enjoys  greater  independence  and  freedom  when  used 
as  a  solo  than  when  it  is  doubled.  The  use  of  doubling  and 
mixed  timbres  is  naturally  more  frequent  in  loud  passages  than  in 
soft  ones,  also  where  expression  and  colour  is  broad  rather  than 
individual  or  intimate  in  character. 

I  cannot  refrain  from  mentioning  how  greatly  I  dislike  jlhe  method  of  dupli- 
cating all  the  wood-wind,  in  order  to  balance  a  group  of  strings,  reinforced 
out  of  all  reason,  to  suit  the  ever-growing  dimensions  of  concert  halls.  I  am 
convinced  that,  artistically  speaking,  a  limit  should  be  set  to  the  size  of  both 
concert  room  and  orchestra.  The  music  performed  at  these  super-concerts 
must  be  specially  composed  on  a  plan  of  its  own  —  a  subject  which  cannot 
be  considered  here. 

Combination  in  octaves. 

When  the  melody  is  entrusted  to  two  wood-wind  instruments 

in  octaves,  the  usual  arrangement  producing  natural  resonance  is: 

«rFl.      Fl.    PI.       Ob.    Ob.      CI.    la 
°LOb.    CI.    Fag.    CI.      Fag.    Fag.J  ^• 

The  combination  of  flute  and  bassoon  in  octaves  is  fare  on 
account  of  the  widely  separated  registers  of  the  two  instruments. 
Deviation  from  the  natural  order,  such  as  placing  the  bassoon 
above  the  clarinet  or  oboe,  the  clarinet  above  the  oboe  or  flute 
etc.,  creates  an  unnatural  resonance  occasioned  by  the  confusion 
of  registers,  the  instrument  of  lower  compass  playing  in  its  high 
register  and  vice  versa.  The  lack  of  proper  relationship  between 
the  different  tone  qualities  then  becomes  apparent. 

Examples: 
No.  56.    Spanish  Capriccio  [o]  —   q^J  8. 
No.  57.    Snegourotchka  \2m\  —  ^n^^homj^- 
*No.  58.    Sheherazade,  3i^  movement  [e]  —  ^]-]  8. 

5arf/^^[l!3-Eng.horn]8- 

Pan  Voyevoda  [T£]  —  ^[-J  8. 
ci.  -I « 

Fag.J 


Tsar  Saltan 


39 


No.  59.    Vera  Scheloga  [ao]  —  pig.]^'  likewise  any  number  of 
examples  in  the  scores  of  various  composers. 

The  use  of  two  instruments  of  the  same  colour  in  octaves,  e.  g. 
2  flutes,  2  clarinets  or  2  bassoons  etc.,  if  not  exactly  to  be  avoided 


—    50    — 

is  certainly  not  to  be  recommended,  as  the  instruments,  playing 
in  different  registers  will  not  correspond  one  with  the  other.  Ne- 
vertheless this  method  may  be  safely  employed  when  stringed  in- 
struments, arco  or  pizzicato  double  the  two  members  of  the  wood- 
wind, and  especially  in  the  middle  compass.  The  process  is  most 
satisfactory  for  repeated  notes  or  sustained  passages. 

Examples: 
The  May  Night,  Act  I  |T|  —  g;,}]  8. 
*  Sadko,  after  [T59]  —  gj; ,[]  3,  doubled  by  pizz.  strings. 


*  Servilia,  after  [21]  —  ^^|;  jj]  8  -f  pizz.  strings. 

Instruments  of  the  same  branch  playing  in  octaves,  e.  g. 

f.  fFag.        CI.  Ob.  Small  cl.    Flute       Picc.1  „ 

LC-Fag.    Cl.  basso    Eng.  horn    Clar.  Alto  Fl.   Fl.    J  ® 

always  produce  a  good  effect. 

Examples: 
Snegourotchka  \^  —  pj'^''']  8  (cf.  Ex.  15). 
The  Tsar's  Bride  [Tii]  —  ^j"']  8. 
Tsar  Saltan  [2T6]  —  ^j|=''-]  8  (cf.  Ex.  36). 
Sadko,  after  [59]  S^^"  ^i-] 


Legend  of  Kitesh  [240]  —  c%g]  ^  (cf-  Ex.  21). 


No  60.    Mlada,  Act  III,  before  [44]  -  ^^-^  j^^  J  8. 

As  in  the  strings,  so  in  the  wood-wind  it  is  advisable  to  double 
in  octaves  any  melody  situated  in  the  extremely  high  or  low 
compass;  an  octave  lower  in  the  first  case,  an  octave  higher  in 
the  second.  Thus  the  piccolo  will  be  doubled  by  the  flute,  oboe 
or  clarinet  an  octaVe  lower;  the  double  bassoon  will  be  doubled 
by  bassoon,  clarinet  or  bass  clarinet  an  octave  higher. 

a  fPicc.    Pice.    Picc.1  ^ 
°Lf1.        Ob.      Cl.    J®- 

^  [Fag.        Bass  cl.    CI.        Cl.  Fagr.    Fag.       ~|  ^ 

Lc-Fag-.    Fag.  Fag.    Bass  cl.    Fag.    Bass  cl.J 


Examples. 


*  Tsar  Saltan 


39 


Pice"!  « 
~  Ob.  J  ^• 


*No.  61.    Mlada,  Act  II,  Lithuanian  dance  [iFI  —  ^jf^:,    ,1  8 


Small  cl.J 


—    51     — 

Sadko[i50\-^^^%,^,]8. 

*  Mixed  qualities  of  tone  may  be  employed  in  doubling  in  oc- 
taves, the  above  remarks  still  holding  good. 

Examples : 
Pan  Voyevoda  [T34]  -  g  j]  ^„'^.  horn]  ^  (cf.  Ex.  7). 


No.  62.    Servilia  [m]  -  \  g;  +  f^^_  ,^^  J  8. 


No.  63.     The  Tsar's  Bride  [120]  -  ^  Fi-  +  Ob^^  ^  ^^^  ^^^  J  8 


.M/arf.,  ActIII0-S:i^rssci.]^ 


Doubling  in  two,  three  and  four  octaves. 

In  such  cases  the  student  should  follow  the  above-mentioned 

rules,  and  should  take  care  not  to  infringe  the  natural  order: 

Fl.      Ob.     Fi.       Fl.   18 
In  3  octaves:  Ob.    ci.      Ci.      Ob. 

Cl.      Fag-.    Fag.    Fag.J°' 

Fl.    ]8 
In  4  octaves:  ^l]8 

Fag.]  8. 

Mixed  timbres  may  also  be  employed. 

Examples: 

No.  64.    Spanish  Capriccio  [p]  —  melody  in  4  octaves: 

Pice.  1 8 

2  Fl.  i  „ 

2  Ob.  +  C1.J  * 
Fag.  J  8. 


The  Tsar's  Bride  [l4i   — ;  melody  in  3  octaves. 
*  Legend  of  Kitesh 


212 


2  Gl. 

Bass  cl.     1 
D.  bassoonJ  ° 


]8 


*No.  65.    Antar,  (l5i  version)  3:^  movement,  the  beginning  — 

Pice.  +2F1.]8  

2  Ob. -4- 2  Cl.] „  also    C  ,  melody  in  4  octaves  (piccolo  in  the  upper 
2  Fag.'        J8;         ' — I 

octaves). 


*Mlada,  Act  III,  after 


42 


Fl. 


18 


Eng.  horn)  ^^ 

Pice.]  8 


No.  66.    Sheherazade,  3i^  movement    Q   —  Ci.  1^ 

' — '       Cl.  Ill  8- 

Examples  of  melody  doubled  in  five  octaves  are  extremely  rare; 
in  such  cases  the  strings  participate  in  the  process. 


4' 


52     — 


Melody  in  thirds  and  sixths. 

Melodic  progression  in  thirds  and  sixths  demands  either  two 

instruments  of  the  same  colour  (2  Fl.,  2  Ob.,  2  CI.,  2  Fag.),  or 

instruments  of  different  colours  in  the  normal  order  of  register: 

FI.      Fl.    Ob.    Cl.       Ob.  1 


Ob.     CI.    Cl.     Fag.    Fag.J 


3  (6). 


If  this  order  is  inverted,  e.  g.  p,^'  p,';  q.^']  3  (6),  a  strained  and 
forced  resonance  is  created.  For  progressions  in  thirds,  the  best 
method,  from  the  standpoint  of  equality  in  tone  is  to  use  instru- 
ments of  the  same  kind  in  pairs;  for  progressions  in  sixths  in- 
struments of  different  kinds  are  more  suitable,  but  both  courses 
are  good  and  useful.  They  may  also  be  employed  for  progressions 
in  thirds  and  sixths,  or  thirds,  fifths  and  sixths  mixed,  as  for 
example: 


^ 


ei 


Legend  of  Kitesh 


24 


Examples: 

different  wind  instruments  in  turn. 


The  May  Night,  Act  III  [g\  —  g;]  3. 

SadkO  1 279-280 1  —  ^[;]  3  (6). 

No.  67.   Spanish  Capriccio,  before 
thirds  and  sixths. 


various  wood-wind  in 


Servilia  [228]  —  ^];]  3  and  ^j;]  3. 


The  Golden  Cockerel  [232]  —  \  ^'^  J  6. 


SadkO 


43 


All  wood-wind  in  turn,  simple  timbres. 
When    the    doubled    parts    progress    in  thirds   or  sixths,   the 
following  method  is  advisable: 

R+obJ  ^  ^^)  °'"  f1:  t  G1-]  ^  ^^^  ^*''"  ^'  ""^^  ^'• 

Fl.  +  Ob.]  ,  (f.   „,  Ob.  +  F1.1  ^  ,..     . 
In  the  case  of  tripling  the  following  arrangement  may  be  adopted: 

Fl.  +  Ob.  +  C1.1  3  ...         Ob.  +  2  Fl.-]      ... 
Fl.  +  Ob.  +  Cl.J  ^  ^^'  ^^  Ob.  +  2  Cl.J  "^  ^^'  ^^'^' 

Examples: 

*  No.  68.    The  Christmas  Night  [Tst]  —  gj;  +  g[;]  3. 

*  Legend  of  Kitesh  [202-203J  different  mixed  timbres. 


jFFfPiiFfFF 


—    53    — 

Thirds  and  sixths  together. 

Apart  from  the  obvious  dis- 
tribution: 

Fl.  Ob. 

Ob.  or  CI.   ,  there  are  certain 

CI.  Fag. 

complicated  methods  which  involve  doubling: 

Upper  part.  Ob.  +  FI. 
Middle  „  Fl.  +C1. 
Lower       „     Ob.  +  CI. 

The  following  is  a  complex  instance  somewhat  vague  in  cha- 
racter: 

,— ,       Ob.  PU 

No.  69.    Legend  of  Kitesh  \35\  —  Ob.  +  Ci.  and  Fl.  +0b. 
^  '  I — '         ci.  Ob. 

Melody  in  the  brass^ 

The  natural  scale,  the  only  one  which  brass  instruments  had 
at  their  disposal  prior  to  the  invention  of  valves  was: 


2      3* 


5  e  «  »  to  ("'  '^  :i 


i^  «^> 


-  -  ^^ 

-    T5 


giving,  in  two  part  harmony: 


With  the  help  of  rhythm,  these  component  parts  have  given  rise  to 
a  whole  series  of  themes  and  phrases  named  fanfares,  trumpet  calls 
or  flourishes,  best  adapted  to  the  character  of  brass  insfruments. 

In  modern  music,  thanks  tp  the  introduction  of  valves,  this  scale 
is  now  possible  in  all  keys  for  every  chromatic  brass  instrument, 
without  it  being  necessary  to  change  the  key,  and  the  addition  of 
a  few  notes  foreign  to  the  natural  scale  has  enriched  the  possi- 
bilities of  these  flourishes  and  fanfares,  and  endowed  them  with 
greater  variety  of  expression. 

These  phrases,  either  as  solos,  or  in  two  or  three  parts,  fall  specially  to 
the  lot  of  the  trumpets  and  horns,  but  they  may  also  be  given  to  the 
trombones.  The  full,  clear,  ringing  notes  of  the  middle  and  upper 
register  of  horns  and  trumpets  are  best  suited  to  figures  of  this 
description. 


—    54     — 


Examples: 


Scrvilia 


20 


—  Trumpets. 
The  Christinas  Night[^  —  Horn,  Trumpets. 
Verra  Scheloga,  be^nnning  of  Overture,  and  after  [45]   —    Horn, 
Trumpets. 

Ivan  the  Terrible,  Act  III  [T|  —  Cornet. 
Snegoiirotchka  [T55]  ^-  Trumpets. 

No.  70.     Legend  of  Kitesh  [^s]  an-d  elsewhere.   —   3  Trumpets, 
4  Horns. 

—  2  Trombones,  Trumpet. 

2  Horns  and  J{Z^^^^]  ^    (^f.  fur- 


191 


20 


Pan  Voyevoda 

*  The  Golden  Cockerel 
ther  on). 

After  fanfare  figures,  those  melodies  best  suited  to  the  brass 
quality  are  those  of  an  unmodulated  diatonic  character,  rousing 
and  triumphant  in  the  major  key,  dark  and  gloomy  in  the  minor. 

Examples : 
No.  71.   Sadko  [342]  —  Trumpet. 
Sadko,  before 


181 


No.  72.    Snegourotchka 
Russian  Easter  Fete 
Spanish  Capriccio 


71 


M 


Trombones  (cf.  Ex.  27). 
—  Trumpet. 
-  Trombone. 
Alternative  use  in  the  horn  of  open 


and  stopped  notes  (cf.  Ex.  44). 

Jvan  the  Terrible,  Act  II,  before  [It] 
3  Horns  a  little  further  on. 

Mlada,  Act  II 


Bass    trumpet,    and 


33 


Bass  trumpet  (cf.  Ex.  46). 

The  genial  and  poetic  tone  of  the  horn  in  piano  passages 
affords  greater  scope  in  the  choice  of  melodies  and  phrases  that 
may  be  entrusted  to  this  instrument. 

Examples: 
The  May  Night,  Overture  [T3]. 
The  Christmas  Night  |T|. 
Snegourotchka 
Pan  Voyevoda 


86 


37 


No.  73.   Antar  40 


—    S5    — 

Melodies  involving  chromatic  or  enharmonic  writing  are  much 
less  suitable  to  the  character  of  brass  instruments.  Nevertheless 
such  melodies  may  sometimes  be  allotted  to  the  brass,  as  in  the 
music  of  Wagner,  and  the  modern  Italian  realists,  who  however, 
carry  the  proceeding  to  extremes.  Vigonrous  phrases  in  the  form 
of  a  fanfare,  although  introducing  chromatic  notes  sound  singu- 
larly beautiful  on  the  brass. 

Example: 


D 


No.  74.    Sheherazade,  22i  movement 

As  a  general  rule,  brass  instruments  lack  the  capacity  to  express 
passion  or  geniality.  Phrases  charged  with  these  sentiments  be- 
come sickly  and  insipid  when  confided  to  the  brass.  Energetic  power, 
free  or  restrained,  simplicity  and  eloquence  constitute  the  valuable 
qualities  of  this  group. 

Brass  in  unison,  in  octaves,^  thirds  and  sixths. 

As,  from  its  very  nature,  the  brass  is  not  called  upon  to  realise 
a  wide  range  of  expression,  kindred  instruments  of  one  group 
may  be  employed  solo,  as  well  as  in  unison.  The  combination 
of  3  trombones  or  4  horns  in  unison  is  frequently  met  with,  and 
produces  extreme  power  and  resonance  of  tone. 

Examples: 
Snegourotchka  [J]  —  4  Horns  (cf.  Ex.  15). 


Snegourotchka   199   —  4  Horns  and  2  Trumpets. 


Sadko    175  —  1,  2,  3  Trumpets. 


No.  75.  Sadko  [aosj  (1)  —  3  Trombones. 

No.  76.   The  May  Night,  beginning  of  Act  III  —  1,  2,  3,  4  Horns. 

Legend  of  Kitesh,  end  of  Act  I  —  4  Horns  (cf.  Ex.  70). 

No.  77.    Sheherazade,  411i  movement  p.  204  —  3  Trombones. 

Mlada;  Lithuanian  dance  —  6  Horns  (cf.  Ex.  61). 

(1)  The  composer  has  emended  the  score  in  the  following  manner:  from 

,  and  also  from  the  fifth  to  the  ninth  bar 


the  fifth  to  the  ninth  bar  after 
after 


306 


305 


,  the  three  clarinets  play  in  unison,  the  trumpet  being  marked  forte 
instead  of  fortissimo;  in  the  example,  the  first  of  these  passages  is  corrected 
according  to  the  composer's  altoration.  (Editor's  note.) 


—    56    — 

Owing  to  the  resonant  power  of  the  entire  group,  the  equality 

and  even  gradation  of  tone  between  the  dark  colour  of  the  deep 

compass  and  the  bright  quality  of  the  upper  register,  the  use  of 

brass   instruments  of  the  same  kind  in  octaves,  thirds  or  sixths 

invariably  leads  to  satisfactory  results.     For  the  same  reason  the 

employment    of    brass    instruments    of    different    kinds,    arranged 

according  to  normal  order  of  register: 

Trumpet     Trumpet        Trombone    2  Trombones  2  Trumpets        2  Horns 

2  Horns     Trombone     Tuba  Trombone  -f-  Tuba    2  Trombones      Tuba 

is  likewise  successful  whether  the  instruments  are  doubled  or  not. 

Another   possible   method,   though  not  so  reliable,  is  to  combine 

horns  (above)  with  trombones,  exclusively  in  octaves: 

2  Horns        ]  e  nr  ^  Horns         1  ^ 
1  Trombone]  °  "'    2  Trombones] 

Examples: 
Sadko,  before  {m}  -  t™-p=;]  «. 

Snegourotchka  \^  -  ^Trllte  +  Tuba]  «■ 


Ivan  the  Terrible,  Act  111  [To]  '  ^^^S^j;^  +  ■^^™''=']  8  (cf.  Ex,  38 
The  Golden  Cockerel  [T26]  -  '\\lZt,V 


Cf.  also  Snegourotchka  |32S-^26|  —  TromboneJ  '  (E"-  ^^)- 


Trombone! 


Melody  in  different  groups  of  instruments 
combined  togethier. 

A.  Combination  of  wind  and  brass  in  unison. 

The  combination  of  a  wood-wind  and  brass  instrument  produces 
a  complex  resonance  in  which  the  tone  of  the  brass  predominates. 
This  resonance  is  naturally  -more  powerful  than  that  of  each  instru- 
ment taken  separately,  but  slightly  sweeter  than  the  brass  instru- 
ment alone.  The  tone  of  the  wood-wind  blends  with  that  of  the 
brass,  softens  and  rarefies  it,  as  in  the  process  of  combining 
two  wood-wind  instruments  of  different  colour.  Instances  of  such 
doubling  are  fairly  numerous,  especially  in  jorte  passages.  The 
trumpet  is  the  instrument  most  frequently  doubled:  Trumpet  -|-  CI., 
Trumpet  +  Ob.,  Trumpet  -f  Fl.,  as  well  as  Trumpet  -r  CI.  +  Ob.  +  Fl.; 


—    57    — 

the  horn,  less  often:  Horn  +  CI.,  Horn  +  Fag.  Trombones  and  Tuba 
may  also  be  doubled:  Trombone -|- Fag.,  Tuba -f  Fag.  Combining 
the  Eng.  horn,  bass  clarinet  and  double  bassoon  with  the  brass,  in 
corresponding  registers,  presents  the  same  characteristics. 

Examples: 


Legend  of  Kitesh  [56j  —  Trombone  +  Eng.  horn. 
*  Mlada,  Act  III,  before  [34]  —  3  Trombones  +  Bass  cl. 
As  a  rule,  the  addition  of  a  wind  to  a  brass  instrument  yields 
a  finer  legato  effect  than  when  the  latter  instrument  plays  alone. 

B.  Combination  of  wind  and  brass  in  octaves. 

Doubling  the  horns  in  octaves  by  clarinets,  oboes  or  flutes  often 
replaces  the  combination 

1  Trumpet  "I  « 

1  Horn  (or  2  Horns)J  °' 

This  is  done  when  it  is  a  question  of  introducing  a  rich  tone  into 

the  upper  octave  which  the  trumpet  is  not  capable  of  imparting. 

If  a  single  horn  is  used,  the  upper  part  is  allotted  to  2  clarinets, 

2  oboes,  or  2  flutes.    But  it  there  are  two  horns  playing  the  lower 

octave  in  unison,  three  or  four  wind  instruments  will  be  necessarj' 

above,  especially  in  forte  passages: 

rz  Ob.  or  2  Cl.  or  2  Fl.      j    1  Ob.  +  1  Cl.l  g.  2  Fl.  +  2  Cl.-|  g 
^  Ll  Horn  ^^  ^®"  ^^  1  Horn     J  "•  2  Horns    J  ^' 

To  double  a  trumpet  in  the  upper  octave  three  or  four  wind  instru- 
ments are  required,  but  in  the  top  register  two  flutes  will  suffice. 

2F1.  2  Fl. 

Ob 


0  ^^^P"-  ^ 


Trumpet.  Trumpet. 

Wood-wind  instruments  should  not  be  used  to  double  a  trombone 
in  the  octave  above;  trumpets  are  more  suitable. 


Examples  of  doubling  in  octaves: 

*  Snegourotchka  \n\  -  Zrit^'']^- 

*  Legend  of  Tsar  Saltan,  before  [18O   —  Y.^.J  ^N        8. 


Horn 
Horn 


—    58    — 

*  Mention  should  also  be  made  of  mixed  timbres  (wood  and  brass) 
in  progression  in  octaves. 

Examples: 

Mlada,  Act  III,  beginning  of  Scene  III  -  xibaTci^^''  '']  ^• 

No.  78.  Mlada,  Act  III,  after  [25]  -  ISstV'rH^t +7^X00]  « 


No.  79.  Mlada,  Act  III,  before   35  —  general  unison. 


(low  register). 


When  it  is  desired  to  distribute  the  melody  over  three  or  four 
octaves,  it  is  difficult  to  achieve  perfect  balance  of  tone. 

Examples: 

Pice.  1  fi 

*  Sheherazade,  4±  movement,  15lli  bar  after  fwl  —  2  Fi.  +  2  Ob.j  ^ 

' — '        2  Trumpets    J  8. 
Pice.  ]  8 


*  Legend  of  Tsar  Saltan   228  —  2Fi.  +  2  0b.  \ 

Trumpet  +  Eng.  horn  J  ° 


C.  Combination  of  strings  and  wind. 

In  commencing  this  section  of  the  work  I  consider  it  necessary 
to  lay  down  the  following  fundamental  rules  which  apply  equally 
to  melody,  harmony,  counterpoint  and  polyphonic  writing. 

All  combinations  of  strings  and  wood-wind  are  good;  a  wind 
instrument  progressing  in  unison  with  a  stringed  instrument  in- 
creases the  resonance  of  the  latter  and  amplifies  its  tone,  while 
the  quality  of  the  strings  softens  that  of  the  wood-wind.  In  such 
combinations  the  strings  will  predominate  provided  that  the  two' 
instruments  are  of  equal  power,  e.  g.  when  violins  are  coupled  with 
an  oboe,  a  bassoon  with  the  'cellos.  If  several  wind  instruments 
play  in  unison  with  one  group  of  strings,  the  latter  will  be  over- 
powered. As  a  rule  all  combinations  refine  the  characteristics  of 
each  instrument  taken  separately,  the  wood-wind  losing  more  than 
the  strings. 

Doubling  in  unison. 

The  best  and  most  natural  combinations  are  between  instruments 
whose  registers  correspond  the  nearest: 
Vni-f  FI.  (Bass  fl.,  pice),  Vni+Ob.,  Vni-hCl.  (small  CI.); 
Violas  4-  Ob.  (Eng.  horn),  Violas  +  CI.,  Violas  +  Fag. 
'Cellos  +  CI.  (Bass  cl.),  'Cellos  +  Fag.; 


59 


D.  basses  -\-  Bass  cl.,  D.  basses  +  Fag.;  D.  basses  -f-  C-fag. 

The  object  of  these  combinations  is:  a)  to  obtain  a  new  timbre 
of  definite  colour;  b)  to  strengthen  the  resonance  of  the  strings; 
c)  to  soften  the  quality  of  the  wood-wind. 


Snegourotchka  |~5~| 


No.  80. 
No.  81. 
No.  82. 
No.  83. 
Servilia 


Examples : 
'Cellos  -f  Violas  +  Eng.  horn  (cf.  Ex.  15). 
28J  —  Violas  -f  Ob.  +  Eng.  horn, 
[m]  -  Vni  1  -f  II  +  Ob.  +  Cl. 

Vni  I  +  II  +  'Cellos  +  Eng.  horn  (cf.  Ex.  17). 
Violas  -f  Cl. 


Bb 


The  May  Night,  Act  III 

—  Vni+Ob. 

—  Violas  +  Eng.  horn. 

—  Violas  -j-  Eng.  horn. 


Sadko 

311 
77 
123 

59 


Tsar  Saltan  [so]  — 
No.  84.    Tsar  Saltan 
+  Fag. 

Tsar  Saltan 


Vni  G  string  +  Fl. 
VniI  +  II-f2  Cl. 
lOlii  bar.  — 


30 


'Cellos  +  Violas  +  3  CL 


156—159 


—  Vni  detached  -f  Fl.  legato. 
The  Tsar's  Bride  [To]  Violas  +  'Cellos  +  Fag. 
Antar,  4^-  movement 


63 


Sheherazade,  Si^  movement 


'Cellos  +  2  Fag. 

—  Violas  -|-  Ob.  +  Eng.  horn. 


Parts  doubled  in  octaves. 
Examples  of  strings  in  octaves  doubled  by  wood-wind  also  in 
octaves  are  numerous,  and  do  not  require  special  description;  they 
are  used  according  to  the  rules  already  laid  down.    The  following 
are  examples  of  melody  distributed  over  1,  2,  3  and  4  octaves: 

Examples : 

No.  85.    Ivan  the  Terrible,  beginning  of  Overture  — 
Vni  1  +  II  +  2  Cl.  ]  o 

Violas  +  'Cellos  +  2  Fag.J  °' 

No.  86.    Saiko  [U  -  StSi  +  C-fag  ]«• 


idko 

166 

» 

235 

D.  basses  -f"  C 
'Cellos  HFagf.        ig 
D.  basses  +  C-fag.J 
Violas  +  2  Cl. 
'Cellos  +  D.  basses  +  2  Fag 


.1 


8. 


The  Tsar's  Bride 


14 


'Cellos  +  Fag.     ] 
D.  basses  +  Fag.J 


—    60    — 


The  Tsar's  Bride  [sT]  —  ^J|,j  div.  ']:^i,]B. 


166 


vSn|Sb.]Mcf.Ex.22). 


In  three  and  four  octaves: 


Vns  +  3  Fl.        1  c 
Servilia    93    —  Violas  +  2  Ob.   i 
'Cellos  4-  2  Fag.J  8- 


Vnl  I -f- Pice.  la 

No.  87.  Kashtchei  105  —  vm  ii -V  Fi.  +  Ob.  \^ 

Violas  +  'Cellos  +  2  Cl.  +  Eng.  horn  +  Fag.J  8. 


Vnl  I  +  Fl.  18 

Shihirazade,  3^  movement   M   —  Vm  ii  +  Ob.  { „ 

' — '         'Cellos  +  Engl,  hornj  8. 


Examples  of  melody  in  thirds  and  sixths: 

s.m/,a0-^';+8S:tg::tvSH»- 


No. 88.   Servilia  |ni|  —  Strings  and  wood-wind  in  thirds. 

No.  89.         „        1 126 1  —  same  combination,  in  thirds  and  sixths. 


Kashtchei 


90 


The  same. 

It  is  necessary*  to  pay  more  attention  to  cases  where,  of  the  two 
parts  in  octaves,  only  one  is  doubled.  When  this  method  is  applied 
to  a  melody  in  the  soprano  register  it  is  better  to  allow  the  wood- 
wind to  progress  in  octaves,  the  lower  part  only  being  doubled 
by  one  of  the  string  groups;  p^+YnJ^-  Ob.  (Ci.)  +  Vn J  ^• 

Examples: 
Tsar  Saltan  [m\  —  v^i'i +7i  +  Ob.]  ^  (^f-  ^^-  1^)- 


*No.90.  Shdhirazade,  4«i  movement  [u]  -  ?ceiios  +  2  Horns]  8- 
In  the  case  of  a  melody  in  the  low  register  demanding  a  sweet 
soft  tone,  the  violoncellos  and  double  basses  should  be  made  to 
progress  in  octaves,  the  former*  doubled  by  a  bassoon,  the  latter 
not  doubled  at  all:  d  ^"as^ses  ^*^  ]  ^'  Sometimes  a  composer  is 
obliged  to  use  this  method  on  account  of  the  very  low  register  of 
the  double  bass,  especially  if  a  double  bassoon  is  not  included  in 
his  orchestral  scheme.  (1) 

(1)  The  process  of  doubling  strings  and  wood-wind  in  octaves:  y,'  8, 
Cellos  ^'  ^^^'^  otten  used  by  the  classics  to  obtain  balance  of  tone,  is  not 
to  be  recommended,  as  the  tone  quality  of  the  two  groups  is  so  widely  different. 
As  a  result  of  the  ever-increasing  tendency  to  profusion  of  colour,  this  method 
has  recently  come  into  fashion  again,  notably  among  the  younger  French 
composers.  (Editor's  note.) 


No.  91.    Tsar  Saltan 


92 


—    61     — 


Example: 

Violas  +  Fa,g.  1  g 
—  'Cellos  +  Fag.] 
D.  Basses         1  ^• 


D.  Combination  of  strings  and  brass. 

Owing  to  the  dissimilarity  between  the  quality  of  string  and  brass 
tone,  the  combination  of  these  two  groups  in  unison  can  never 
yield  such  a  perfect  blend  as  that  produced  by  the  union  of  strings 
and  wood-wind.  When  a  brass  and  a  stringed  instrument  progress 
in  unison,  each  can  be  heard  separately,  but  the  instruments  in 
each  group  which  can  be  combined  with  the  greatest  amount  of 
success  are  those  whose  respective  registers  correspond  the  most 
nearly;  Violin  +  Trumpet;  Viola  +  Horn;  ^^^^^,^^  +  jibf  °"''  (^^r 
heavy  massive  effects). 

The  combination  of  horns  and  'cellos,  frequently  employed,  pro- 
duces a  beautifully  blended,  soft  quality  of  tone. 

Examples: 


Tsar  Saltan   29  —  Vnil  +  II  +  Horn. 


*  No.  92.    The  Golden  Cockerel   98  —  Violas  con  sord.  +  Horn. 


E.  Combination  of  the  three  groups. 

The  combination  of  members  of  the  three  groups  in  unison  is 
more  common,  the  presence  of  the  wood-wind  imparting  a  fuller 
and  more  evenly  blended  tone.  The  question  as  to  which  group 
will  predominate  in  timbre  depends  upon  the  number  of  instruments 
employed.  The  most  natural  combinations,  and  those  most  generally 
in  use  are:  Vni-[-  Ob.  (Fr.,  CI.)  -f- Trumpet;  Violas  (or  'Cellos)  +  CI. 
(Eng.  horn)  +  Horn;  D.talses  +  2  Fag. +  3  Trombones ^- Tuba. 

Such  groupings  are  used  for  preference  in  loud  passages  or  for 
a  heavy  piano  effect. 

Examples: 

No.  93—94.  Snegourotchka  [218]  and  [2T9]  —  Vni  I  +  II  +  CI. 
+  Horn  and  Vni  I  +  II  -}-  CI.  +  Trumpet. 


—    62    — 


Servilia 


168 


No.  95.  Snegourotchka 
Pan  Voyevoda  [224]  - 


Violas  +  Trombones  1  g 

'Cellos  +  Trombone  +  Bass  Cl.J      (cf.  Ex.  i2). 

D,  basses  +  Tuba  +  Fag.  J  8 

'Cellos  +  Violas  +  Fag.  +  Trombone 
D.  basses  -|-  Fag.  -f-  Tuba 


325 


Vni+  Fag.  +  Horn  +  Vn.  +  CI.  -j 
pet.    (Stopped  notes  in  the  brass.) 

Violas  +  2  CI.  -|-  Bass  trumpet 


Trum- 


Mlada,  Act  III,  after 


23 


*No.96.    Ivan  the  Terrible,  Act  III,  before  [66]  — 
Bass  CI.  +  Horn  1  ,, 

D.  basses  +  G-fag.  +  TubaJ 

*  Ivan  the  Terrible,  Overture,  41!i  bar  after  [T]  —  Violas  -\-  'Cellos 

+  Eng.  horn  +  2  CI.  +  Bass  CI.  +  2  Fag.  +  4  Horns.   (The  melody 

simplified  in  the  horns.) 


Chapter  III. 

HARMONY. 


General  observations. 

The  art  of  orchestration  demands  a  beautiful  and  well-balanced 
distribution  of  chords  forming  the  harmonic  texture.  Moreover, 
transparence,  accuracy  and  purity  in  the  movement  of  each  part 
are  essential  conditions  if  satisfactory  resonance  is  to  be  obtained. 
No  perfection  in  resonance  can  accrue  from  faulty  progression 
of  parts. 

Note.  There  are  people  who  consider  orchestration  simply  as  the  art  of 
selecting-  instruments  and  tone  qualities,  believing  that  if  an  orchestral  score 
does  not  sound  well,  it  is  entirely  due  to  the  choice  of  instruments  and  timbres. 
But  unsatisfactory  resonance  is  often  solely  the  outcome  of  faulty  handling  of 
parts,  and  such  a  composition  will  continue  to  sound  badly  whatever  choice 
of  instruments  is  made.  So,  on  the  other  hand,  it  often  happens  that  a  passage 
in  which  the  chords  are  properly  distributed,  and  the  progression  of  parts 
correctly  handled,  will  sound  equally  well  if  played  by  strings,  wood-wind  or  brass. 

The  composer  should  picture  to  himself  the  exact  harmonic 
formation  of  the  piece  he  intends  to  orchestrate.  If,  in  his  rough 
sketch,  there  exist  any  uncertainty  as  to  the  number  or  movement 
of  harmonic  parts,  he  is  advised  to  settle  this  at  once.  It  is 
likewise  essential  for  him  to  form  a  clear  idea  as  to  the  con- 
struction and  musical  elements  of  the  piece,  and  to  realise  the 
exact  nature  and  limitations  of  the  themes,  phrases  and  ideas  he 
is  going  to  employ.  Every  transition  from  one  order  of  harmonic 
writing  to  another,  from  four-part  harmony  to  three,  or  from  five- 
part  harmony  to  unison  etc.,  must  coincide  with  the  introduction 
of  a  new  idea,  a  fresh  theme  or  phrase;  otherwise  the  orchestra- 
tor  will  encounter  many  unforeseen  and  insurmountable  difficul- 


—    64    — 

ties.  For  example,  if,  during  a  passage  written  in  four  parts  a  chord 
in  five-part  harmony  is  introduced,  a  fresh  instrument  must  needs 
be  added  to  play  this  particular  fifth  part,  and  this  addition  may 
easily  damage  the  resonance  of  the  chord  in  question,  and  render 
the  resolution  of  a  discord  or  the  correct  progression  of  parts 
impossible. 

Number  of  harmonic  parts  —  Duplication. 

In  the  very  large  majority  of  cases  harmony  is  written  in  four 
parts;  this  applies  not  only  to  single  chords  or  a  succession 
of  them,  but  also  to  the  formation  of  the  harmonic  basis.  Harmony 
which  at  first  sight  appears  to  comprise  5,  6,  7  and  8  parts,  is 
usually  only  tour  part  harmony  with  extra  parts  added.  These 
additions  are  nothing  more  than  the  duplication  in  the  adjacent 
upper  octave  of  one  or  more  of  the  three  upper  parts  forming  the 
original  harmony,  the  bass  being  doubled  in  the  lower  octave  only. 
The  following  diagrams  will  explain  my  meaning: 


A.  Close  part  writing 

Four  part  harmony. 


Duplication  of  1  part. 


* 


Duplication  of  2  parts. 


ft 


n    II  TT 


Duplication  of  3  parts. 


ft 


^ 


s 


^ 


# 


^ 


&  "  t 


^ 


xr 


B.  Widely-divided  part-writing. 

Pour  part  harmony.  Duplication  of  1  part.    Duplication  of  2  parts. 


A>    <>  i 

II 

If 

-H- 

f— o — 1 
— n — 

— » 

-H— 

i—o 1 

£1. 

— Q 

^=^ 

1" 1 

O 

— e — 

— o — 

Tl — 1 

U 

— o 

o 

II 

— « 

o 

•K 

,  >■     , 

Note.  In  widely-spaced  harmony  only  the  soprano  and  alto  parts  may  be 
doubled  in  octaves.  Duplicating  the  tenor  part  is  to  be  avoided,  as  close 
writing  is  thereby  produced,  and  doubling  the  bass  part  creates  an  effect  of 
heaviness.    The  bass  part  should  never  mix  with  the  others: 


Bad: 


65     — 


m 


s 


i 


On  account  of  the  distance  between  the  bass  and  the  three  other 
parts,  only  partial  dupHcation  is  possible. 


Good: 


g 


^m 


[t  ;;"i  ^  4  '^=^ 


Note.  Notes  in  unison  resulting  from  correct  duplication  need  not  be  avoided, 
for  although  the  tone  in  such  cases  is  not  absolutely  uniform,  the  ear  will  be 
satisfied  with  the  correct  progression  of  parts. 

Consecutive  octaves  between  the  upper  parts  are  not  permissible: 


Bad: 


:^ 


Consecutive  fifths   resulting  from  the  duplication  of  the  three 
upper  parts  moving  in  chords  of  sixths  are  of  no  importance: 


Good: 


The  bass  of  an  inversion  of  the  dominant  chord  should  never 
be  doubled  in  any  of  the  upper  parts: 


Good: 


m 


t^z 


m 


-o^ 


^ 


~w 


Bad: 


^       §.. 


m 


Se- 


S 


XT 

4 
3 


XT 

4 
8 


This  applies  also  to  other  chords  of  the  seventh  and  diminished 
seventh: 


—    66 


Bad: 


# 


S 


^ 


Good: 


♦ 


:^ 


# 


m 


S 


The  rules  of  harmony  cpncerning  sustained  and  pedal  passages 
apply  with  equal  force  to 'orchestral  writing.  As  regards  passing 
and  auxiliary  notes,  ecliappees,  considerable  licence  is  permitted 
in  rapid  passages  of  different  texture: 


One  textuce: 


A  different  one: 


II  rrrrrifrr 


One 
texture: 

A  different 
one: 


A  certain   figure    and   its   essentials^    in   simplified   form,   may 
proceed  concurrently,  as  in  the  following  example: 


One  texture: 


A  different  one: 


A  third: 


^ 


^ 


Upper  and  inner  pedal  notes  are  more  effective  on  the  orchestra 
than  in  pianoforte  or  chamber  music,  owing  to  the  greater  variety 
of  tone  colour: 


» 


-w 


—     67     — 

In   Vol.  II  of  the  present  work   many   examples   of  the   above 
methods  will  be  found. 

Distribution  of  notes  in  chords. 

The  normal  order  of  sounds  or  the  natural  harmonic  scale: 


< 


'A  ':  i'. 


may  serve  as  a  guide  to  the  orchestral  arrangement  of  chords. 
It  will  be  seen  that  the  widely-spaced  intervals  lie  in  the  lower 
part  of  the  scale,  gradually  becoming  closer  as  the  upper  register 
is  approached: 


3fe 


* 


=S= 


m 


The  bass  should  rarely  lie  at  a  greater  distance  than  an  octave 

from  the  part  directly  above  it  (tenor  harmony).    It  is  necessary 

to  make  sure  that  the  harmonic  notes  are  not  lacking  in  the  upper 
parts: 


To  be  avoided: 


m 


P 


ran 


=&: 


Sz 


S= 


^ 


The   use   of   sixths   in  the   upper   parts,   and   the   practice   of 
doubling  the  upper  note  in  octaves  are  sometimes  effective  methods: 


^ 


=S: 


O:      " 

y     t\  — f 


8= 


—    68    — 

When  correct  progression  increases  the  distance  between  the 
top  and  bottom  notes  of  the  upper  parts,  this  does  not  matter: 


Good: 


g 


i^w4 


But  it  would  be  distinctly  bad  to  fill  in  the  second  chord  this: 


Not  good: 


^ 


,(>ta 


S 


B=^ 


IE 


-k^ 


S 


Hence  it  follows  that  the  distribution  of  intermediate  parts  is  a 
question  of  the  greatest  importance.  Nothing  is  worse  than  wriiing 
chords,  the  upper  and  lower  parts  of  which  are  separated  by 
wide,  empty  intervals,  especially  in  forte  passages;  in  piano  passages 
such  distribution  may  be  possible.  Progression  in  contrary  motion, 
the  upper  and  lower  parts  diverging  by  degrees  gives  rise  to  the 
gradual  addition  of  extra  parts  occupying  the  middle  register: 


Schematic 
Example: 


i  ,1  i  j  i  -jj  i  f  ff- 


m 


TT 


C2 t 


il 


m 


When  the  voices  converge,  the  middle  parts  are  eliminated  one 
by  one: 


Schematic 
Example: 


?    if.    y 


^^ 


f 


-§r 


—    69    — 

String  harmony. 

It  is  an  incontrovertible  rule  that  the  resonance  of  different 
harmonic  parts  must  be  equally  balanced,  but  this  balance  will  be 
less  noticeable  in  short  sharp  chords  than  in  those  which  are 
connected  and  sustained.  Both  these  cases  will  be  studied  sepa- 
rately. In  the  first  case,  in  order  to  increase  the  number  of  harmonic 
parts,  each  instrument  in  the  string  group  may  be  provided  with 
double  notes  or  chords  of  three  and  four  notes.  In  the  second 
case,  the  resources  are  limited  to  double  notes  aniSy  or  division 
of  parts. 

A.  Short  chords.  Chords  of  three  or  four  notes  can  only  be 
executed  rapidly  on  the  strings. 

Note.  It  is  true  that  the  two  upper  notes-  of  a  chord  can  be  sustained  and 
held  a  long-  time;  this,  however,  involves  complications  and  will  be  considered 
later. 

Short  chords,  arco,  only  sound  well  when  played  forte  (sf),  and 
when  they  can  be  supported  by  wind  instruments.  In  the  execution 
of  double  notes  and  chords  of  three  and  four  notes  on  the  strings, 
balance,  perfect  distribution  of  tone,  and  correct  progression  of 
parts  are  of  minor  importance.  What  must  be  considered  before 
everything  is  the  resonance  of* the  chords  themselves,  and  the  degree 
of  ease  with  which  they  can  be  played.  Those  comprising  notes  on  the 
gut  strings  are  the  most  powerful.  Chords  played  on  several  strings 
are  usually  assigned  to  isi  and  2^  violins  and  violas,  the  different 
notes  being  divided  between  them  according  to  ease  in  execution 
and  the  demands  of  resonance.  On  account  of  its  low  register  the 
'cello  is  rarely  called  upon  to  play  chords  on  three  or  four  strings, 
and  is  usually  allotted  the  lowest  note  of  the  chord  in  company 
with  the  double  bass.  Chords  on  the  latter  instrument  are  even 
more  uncommon,  but  it  may  supply  the  octave  on  an  uncovered 
string. 

Examples: 

No. 97.  Snegourotchka[^;  cf.  also  before  [ho]  and  before  [200]. 

*  Spanish  Capriccio,  before  [V]  (cf.  Ex.  67). 

Sheherazade,  2^  movement    \V\  (cf.  Ex.  19.) 

*No.  98.    Tsar  Saltan  [Tis];  cf.  also  |  i4i  |  and  before 


182 


—    70    — 

Isolated  chords  may  be  added  to  a  melodic  figure  in  the  upper 
part,  accentuating,  sforzando,  certain  rhythmical  moments. 

Example: 


No.  99.  Snegourotchka,  before    126  ;  cf.  also 


326 


B.  Sustained  and  tremolando  chords.  Chords  sustained  for 
a  shorter  or  longer  period  of  time,  or  tremolando  passages,  often 
used  as  a  substitute,  demand  perfect  balance  of  tone.  Taking  for 
granted  that  the  different  members  of  the  string  group  are  equal 
in  power,  the  parts  being  written  according  to  the  usual  order  of 
register,  (cf.  Chap.  I),  it  is  patent  that  a  passage  in  close  four-part 
harmony,  with  the  bass  in  octaves  will  also  be  uniformly  resonant. 
When  it  is  necessary  to  introduce  notes  to  fill  up  the  empty 
middle  register,  the  upper  parts  being  farther  distant  from  the  bass, 
doubled  notes  on  the  violins  or  violas  should  be  used,  or  on  both 
instruments  together.  The  method  of  dividing  strings,  which  is 
sometimes  adopted,  should  be  avoided  in  such  cases,  as  certain 
parts  of  the  chord  will  be  divided  and  others  will  not;  but,  on  the 
other  hand,  if  a  passage  in  six  and  seven-part  harmony  be  written 
entirely  for  strings  divided  in  the  same  manner,  the  balance  of 
tone  will  be  completely  satisfactory,  e.g., 

H5v  /Vnil 
<Hv.  (vnil 

Hi„  /VnsII 
^•^•\Vnill 

..     /Violas  I 
°'^'  \  Violas  II 

If  the  harmony  in  the  three  upper  parts,  thus  strengthened,  is 
written  for  divided  strings,  the  'cellos  and  basses,  playing  non  divisi 
will  prove  a  trifle  heavy;  their  tone  must  therefore  be  eased,  either 
by  marking  the  parts  down  or  reducing  the  number  of  players. 

In  the  case  of  sustained  chords  or  forte  tremolando  on  two  strings, 
the  progression  of  parts  is  not  always  according  to  rule,  the  intervals 
chosen  being  those  which  are  the  easiest  to  play. 

Examples: 


No.  100.    The  Christmas  Night  i6i  —  Full  divisi 


No.  101.       „  „  „      [210]  -Vi°jf^^3^;;;:}  4  part  harmony 


^ 


—    71    — 

No.  102.  Snegourotchka  |i87— 188|  —  Four-part  harmony,  Vn?.  I, 

Vni  II,  Violas  and  Violoncellos. 
„  [243]  —  4  Solo  'cellos  divisi. 

Sheherazade,  2^  movement,  beginning.  —  4  D.  bass  soli  div. 

(cf.  Ex.  40).  

Chords  on  all  strings  (cf.  Ex.  243). 
-  Harmonic  basis  in  the  strings. 


The  Tsar's  Bride 


179 


No.  103.   Legend  of  Kitesh 


240 


—  (cf.  Ex.  21). 
„        „       „     [283J —  Harmonic  basis  in  the  strings 
(cf.  Ex.  2). 
No.  104.    The  Golden  Cockerel  \J]  —  Basis  in  the  strings. 

„  „  „      [T25]  —  Undulating  rhythm  in  the 

strings  as  harmonic  basis  (cf.  Ex.  271). 

In  a  forte  or  sfp  chord,  where  one  or  two  of  the  upper  notes  is 
held,  either  sustained  or  tremolando,  the  balance  of  tone  must  still 
be  maintained,  as  in  the  following  example: 


Vnil 


Vnill 


Violas 


D.  basses 


* 


$ 


J 


P 
¥p^ 


^ 


sfp 


w 


sfp 


f 


r 


f 


^ 


^ 


f 


^ 


f 


Wood-wind  harmony. 

Before  entering  upon  this  section  of  the  work  I  would  remind 
the  reader  of  the  general  principles  laid  down  in  the  beginning  of 
the  chapter. 

Harmonic  texture,  composed  of  plain  chords  or  ornamental  designs, 
simple  or  contrapuntal  in  character,  must  possess  a  resonance  equally 
distributed  throughout.  This  may  be  obtained  by  the  following  means: 


—    72    — 

1.  Instruments  forming  chords  must  be  used  continuously  in  the 
same  way  during  a  given  passage,  that  is  to  say  they  must  be 
doubled  or  not  throughout,  except  when  one  of  the  harmonic  parts 
is  to  be  made  prominent: 

2   Fi 

;i  Ob  \ 


To  be  avoided:     :|::^ciar.4-^„  jr^"^""       ^''1 


2  01 
2  Fag 

2.  The  normal  order  of  register  must  be  followed,  except  in  the 
case  of  crossing  or  enclosure  of  parts,  which  will  be  discussed 
later  on: 

To  be  avoided:      ^        »i^Ig"  " 


i 


^^ 


^ 


3.   Corresponding  or  adjacent  registers  should  be  made  to  co- 
incide except  for  certain  colour  effects: 


^1fi. 


The  second  flute  will  sound  loo  weak  and 
To  be  avoided:       (ft>Q^ro  the  oboes  too  piercing. 

4.  Concords  (octaves,  thirds  and  sixths)  and  not  discords  (fifths, 
fourths,  seconds  and  sevenths),  should  be  given  to  instruments  of 
the  same  kind  or  colour,  except  when  discords  are  tc  be  empha- 
sised. This  rule  should  be  specially  observed  in  writing  for  the 
oboe  with  its  penetrating  quality  of  tone: 

To  be  avoided:      ffi         o^^"^*^ 
y  Ci.[^       - 


Four-part  and  three-part  harmony. 

Harmonic  writing  for  the  wood-wind  may  be  considered  from 
two  points  of  view:  a)  instruments  in  pairs,  2F1.,  2  0b.,  2  CI.,  2  Fag.; 
and  b)  instruments  in  three's,  3  Fl.,  2  Ob.,  Eng.  horn,  3  CI.,  2  Fag., 
C-fag. 

A.  In  pairs.  There  are  three  ways  of  distribution:  1.  Super- 
position or  overlaying  (strictly  following  the  normal  order  of  register), 


—    73    — 

2.  Crossing,   and  3.  Enclosure  of  parts.     The  last  two  methods 
involve  a  certain  disturbance  of  the  natural  order  of  register: 

Overlaying.        Crossing.        Enclosure. 


In  choosing  one  of  these  three  methods  the  following  points 
must  not  be  forgotten:  a)  the  register  of  a  particular  isolated  chord; 
the  soft  and  weak  register  of  an  instrument  should  not  be  coupled 
with  the  powerful  and  piercing  range  of  another: 

Overlaying.        Crossing.    Enclosure. 


^fr^ 


Oboe  too      Low  notes     Bassoon  too 
piercing      of  the  flute      prominent, 
too  weak 


b)  In  a  succession  of  chords  the  general  progression  of  parts 
must  be  considered;  one  tone  quality  should  be  devoted  to  the 
stationary  and  another  to  the  moving  parts: 


When  chords  are  in  widely-divided  four-part  harmony  notes  may 
be  allotted  in  pairs  to  two  different  tone  qualities,  adhering  to  the 
normal  order  of  register: 


Good: 


etc. 


^par- 


Any  other  distribution  will  result  unquestionably  in  a  grievous 
lack  of  relationship  between  registers: 


To  be  avoided: 


etc. 


—     74    — 

If  one  tone  quality  is  to  be  enclosed,  it  must  be  between  two 
different  timbres: 


Good: 


i 


Fl. 


Ob.  o 


•/Fag-  ■»• 


FnnjT":^ 


Fag  ^CF 


m 


etc. 


It  is  possible  to  lend  four  distinct  timbres  to  a  chord  in  widely- 
divided  four-part  harmony,  though  such  a  chord  will  possess  no 
uniformity  in  colour;  but  the  higher  the  registers  of  the  different 
instruments  are  placed,  the  less  perceptible  becomes  the  space 
which  separates  them:    . 


i 


Fl 


Ub.  o 


Fl.  -» 


Fl.^ 
Ob.n 


Cl-   ^ 

Fag.  TJ 


L'l.  o 


Ka  £•.•»• 
Fairlygood        Better 


(Jl.o 


Still  better 


The  use  of  four  different  timbres  in  close  four-part  harmony  is 
to  be  avoided,  as  the  respective  registers  will  not  correspond: 


Fae/*^ 

i--«^— 

fc^ 

=S= 

Bad 

Better 

Still 
slightly 
better 

Note.  In  Mozart  and  Saliiri,  which  is  only  scored  for  1  Fl.,  1  Ob.,  1  Cl. 
and  1  Fag.,  wood-wind  chords  in  four-part  harmony  are  of  necessity  devoted 
to  these  four  different  timbres. 

The  same  rules  apply  to  writing  in  three-part  harmony,  which 
is  the  most  customary  form  when  it  is  a  question  of  establishing 
a  harmonic  basis,  the  lowest  register  of  which  is  entrusted  to 
another  group  of  instruments  (strings  arco  or  pizz.,  for  example). 
Chords  in  three-part  barm.ony  are  generally  given  to  two  instru- 
ments of  one  timbre  and  a  third  instrument  of  another,  but  never 
to  three  different  timbres.  Overlaying  of  parts  is  the  best  course 
to  adopt: 

►]F1.     F"'- 


Fag 


75    — 


The  use  of  crossing  and  enclosure  of  parts  (which  in  a  way 
amount  to  the  same  thing)  must  depend  on  the  manner  of  their 
progression: 


-Q^ 


m 


Enclosure ; 


.T^§  ij   8   llu.[ 


^ 


^ef=m^ 


^^ 


^^Oh 


^ 


B.  Wood-wind  in  three's.  Here  the  distribution  of  chords  in 
close  three-part  harmony  is  self-evident;  any  grouping  of  three 
instruments  of  the  same  timbre  is  sure  to  sound  well: 


§]3F1. 


also: 


S 


¥05; 


§]  »  Clai 


t'l  fr    ■ 


Fl.picc. 
;]2  Fl. 


il^'-'^s 


CI. pice. 


m 


^s^¥f; 


^^ 


fe 


^s^Gj; 


Fl.c-alto    Cor.ingl. 


'^ '«.:::;  ji&j^!!^! 


C-fag-. 


Overlaying  of  parts  is  the  best  method  to  follow  in  writing 
close  four-part  harmony;  three  instruments  of  the  same  timbre 
with  a  fourth  instrument  of  another.  Crossing  and  enclosure  of 
parts  may  also  be  employed.  Correspondence  of  timbres  and  the 
progression  of  remote /parts  must  be  kept  in  mind: 


«-Fag 


FaF^ 


The  method  of  using  three  instruments  of  the  same  timbre  in 
widely-divided  three-part  harmony  is  inferior: 


«►  Fl 
3  Fl      ^ 


Sil-: 


CI. 


o-i  3  CI. 


5P6¥^ 


m 


"  Ob. 


=3=^^ 


;]aFag. 


-»^ 


"Fa{-. 
Better 


Not  good      Better        Better 


Not  good        Better 


76    — 


But  if  the  third  instrument  is  of  low  register  (Bass  Fl.,  Eng. 
horn,  Bass  cl.,  or  C-fag.),  the  resonance  will  be  satisfactory: 


3^ 


3=eC 


31 


*y  Cl  basbu  "    o 


]  a  Kgg. 


Crfag. 


^^ 


3:*:Bz 


■*■  Coringl. 


Fl.t%alt 


In  chords  of  four-part  harmony,  three  instruments  of  th^  same 
timbre  should  be  combined  with  a  fourth  instrument  of  another: 


^ 


:]^^--^-  II ::] 


«>  (Jl-basGO 


5  Cor.  ingl. 


\ii  Cl. 


«•  C-fag-. 


o  Cl-ba^«o- 


$ 


^la  Ob. 


^  Uor.  ing-l 
•»■  Cl 


etc. 


Harmony  in  several  parts. 

In  writing  chords  of  5,  6,  7  and  8  part-harmony,  whether  they 
are  independent,  or  constitute  the  harmonic  basis,  the  student 
should  follow  the  principles  outlined  in  the  previous  chapter, 
dealing  with  the  progression  of  wood-wind  instruments  in  octaves. 
As  the  5%  6111,  711i  and  811i  notes  are  only  duplications  in  octaves 
of  lower  notes  of  the  real  harmony  (in  4  parts),  instruments 
should  be  chosen  which  combine  amongst  themselves  to  give  the 
best  octaves.  The  process  of  crossing  and  enclosure  of  parts 
may  also  be  used. 

A.  Wood-wind  in  pairs  (close  distribution): 


In  widely-divided  harmony  chords  in  several  parts  are  to  be 
avoided  as  they  will  entail  both  close  and  extended  writing: 


Note.  In  the  majority  of  cases  this  distribution  is  employed  when  the  t>vo 
upper  harmonic  parts  have  a  special  melodic  duty  to  perform  —  this  question 
is  discussed  above. 


—    77 


B.  Wood-wind  in  three's: 


m 


3  Fl 


Q13  Ob. 


8  Corittfri^ 


bla  cji.  II  ro' 


Fa^. 


3F1 


i 


a 


3  Fl. 

]a  Ob. 


ifm^ 


LSSO  «■ 


^m 


m 


H  CI. 


*^Cor.ingl. 


Gh 


*>:«>-aff.[g' 


<»  Cor,  ingl. 


CI.  basso 


etc. 


l\-\  Myaff. 


33 


j  2  Fag. 


ocibasso" z=: 


C-  fag. 


C-faff. 


Overlaying  of  parts  is  the  most  satisfactory  method  in  dealing 
with  close  three-part  harmony.  Crossing  of  parts  is  not  so 
favourable,  as  octaves  will  be  produced  contrary  to  the  natural 
order  of  register: 


(mayag.r*€ 


^Gf 


Here  the  arrangement 


I 


j^ 


is  bad. 


•CTClar. 


Duplication  of  timbres. 

A.    If  the  wood-wind  is  in  pairs  it  is  a  good  plan  to  mix  the 
doubled  timbres  as  much  as  possible: 


2F1. 


2  ..^0^-2 


J^ob.cnRiviu.||«ot>ioi'^^^]|n^nri]>i}l|^ 


Excellent 


also: 


^2F1 


=mm 


»-ObT 


•[^^jal^ag- 


i»-Ffc=E^^3=3=0^ 


2Cl.[--]2Fag. 


In  chords  of  four-part  harmony  the  classical  method  may  be 
adopted: 

.2  0b. 


llifej 


:s:cf; 


—    78    — 


In  this  case,  though  the  high  C  in  the  flute  is  fairly  powerful, 
the  resonance  of  the  G  and  E  in  the  oboes  is  softened  by  the 
duplication  of  the  2^  flute  and  1^1  clarinet,  while  the  C  in  the 
2^  clarinets  (not  doubled)  is  feeble  in  comparison  with  the  other 
notes.  In  any  case  the  two  extreme  parts  are  the  thinnest  and 
weakest  in  tone,  the  intermediate  parts  the  fullest  and  strongest. 

B.  Wood -wind  in  three's  admit  of  perfectly  balanced  mixed 
timbres  in  chords  of  three-part  harmony: 


i 


3FI.30b., 


^ 


3F1.3C1. 


3  0b.3Cl. 


SOb.SFaR-. 


m]   I  [jiin 


1f» 


m 


3Faff  3C1. 


These  timbres  may  even  originate  from  three-fold  duplication; 


^ffi 


30b.3Cl.3Fag- 


^^^F=^^ 


/'    I    ^^ 


^^ 


3Fl.30b.3Cl. 


Remarks. 

1.  Modern  orchestrators  do  not  allow  any  void  in  the  inter- 
mediate parts  in  writing  close  harmony;  it  was  permitted  to  some 
extent  by  the  classics: 


* 


a. 


jt 


&. 


i 


These  empty  spaces  create  a  bad  effect  especially  in  forte  passages. 
For  this  reason  widely-divided  harmony,  which  is  fundamentally 
based  on  the  extension  of  intervals,  can  be  used  but  seldom  and 
only  in  piano  passages.  Close  writing  is  the  more  frequent  form 
in  all  harmony  devoted  to  the  wood-wind,  forte  or  piano. 

2.  As  a  general  rule  a  chord  of  greatly  extended  range  and  in 
several  parts  is  distributed  according  to  the  order  of  the  natural 
scale,  with  wide  intervals  (octaves  and  sixths),  in  the  bass  part, 
lesser  intervals  (fifths  and  fourths)  in  the  middle,  and  close  inter- 
nals (3nli  or  211^)  in  the  upper  register: 


—    79    — 


* 


M 


3  Fi 


§]j;o^ 


Cor-inR'T^ 


'■^ayn(c.[ 


ffi 


«-Gi, 


M 


2  Fl. 


■c*.  Fl.picc. 
B3    2F1 


^5^ 


s^es; 


I^]  a  Koff. 


^JfCf 


!.}  Ob. 


'3  3  Faff, 


Xf  C.-fag-. 

3.  In  many  cases  correct  progression  of  parts  demands  that 
one  of  them  should  be  temporarily  doubled.  In  such  cases  the 
ear  is  reconciled  to  the  brief  overthrow  of  balance  for  the  sake 
of  a  single  part,  and  is  thankful  for  the  logical  accuracy  of  the 
progression.    The  following  example  will  illustrate  my  meanings 


i 


m 


sx 


iS: 


■t*»*»h 


i 


m 


^ 


itnn^ 


^ 


In  the  second  bar  of  this  example  the  D  is  doubled  in  unison 
on  account  of  the  proximity  of  the  three  upper  parts  to  their 
corresponding  parts  an  octave  lower.  In  the  fourth  bar  the  F  is 
doubled  in  unison  in  both  groups. 

4.  The  formation  of  the  harmonic  basis,  which  is  essentially  in 
four  parts,  does  not  by  any  means  devolve  upon  the  wood-wind 
alone.  One  of  the  parts  is  often  devoted  to  the  strings,  arco  or 
pizz.  More  frequently  the  bass  part  is  treated  separately,  the 
chords  of  greater  value  in  the  three  upper  parts  being  allotted  to 
the  wood- wind.  Then,  if  the  upper  part  is  assigned  to  a  group 
of  strings,  there  remairls  nothing  for  the  wind  except  the  sustained 
harmony  in  the  two  middle  parts.  In  the  first  case  the  three-part 
harmony  in  the  wood-wind  should  form  an  independent  whole, 
receiving  no  assistance  from  the  bass;  in  this  manner  intervals  of 
open  fourths  and  fifths  will  be  obviated.  In  the  second  case  it 
is  desirable  to  provide  the  intermediate  parts  with  a  moderately 
full  tone,  choosing  no  other  intervals  except  seconds,  sevenths, 
thirds  or  sixths. 

All  that  has  been  said  with  regard  to  the  use  of  wood-wind  in 
the  formation  of  harmony,  and  the  division  of  simple  and  mixed 


—    80    — 

timbres  applies  with  equal  force  to  sustained  chords,  or  harmonic 
progressions  interchanging  rapidly  with  staccato  chords.  In  short 
chords,  separated  by  rests  of  some  importance,  the  arrangement 
and  division  of  timbres  is  not  so  perceptible  to  the  ear,  and  pro- 
gression of  parts  attracts  less  attention.  It  would  be  useless,  nay, 
impossible  to  examine  the  countless  combinations  of  tone  colour, 
all  the  varieties  of  duplication  and  distribution  of  chords.  It  has 
been  my  aim  to  denote  the  fundamental  principles  upon  which  to 
work,  and  to  indicate  the  general  rules  to  be  followed.  Once  having 
mastered  these,  if  the  student  devote  a  little  time  to  the  study  of 
full  scores,  and  listen  to  them  on  the  orchestra,  he  will  soon 
learn  when  certain  methods  should  be  used  and  when  to  adopt 
others.  The  pupil  is  advised,  generally,  to  write  for  wood-wind 
in  its  normal  order  of  distribution,  to  take  heed  that  each  parti- 
cular chord  is  composed  entirely  either  of  duplicated  or  non-dupli- 
cated parts,  (except  in  certain  cases  resulting  from  progression), 
to  use  the  methods  of  crossing  and  enclosure  of  timbres  with  full 
knowledge  of  what  he  is  doing,  and  finally  to  concentrate  his 
attention  on  close  part-writing. 

Examples  of  wood-wind  harmony: 
a)  Independent  chords. 

No.  105.    The  Christmas  Night  [hs]  —  CI.,  2  Fag. 
No.  106.       „  „  „      beginning  —  Ob.,  CI.  Fag.  (cross- 

ing of  parts). 
Snegourotchka  \^  —  2  CI.,  Fag. 

5«Lbar.  —  2  Ob.,  2  Fag.  (cf.  Ex.  136). 


79 


*No.  107.    Snegourotchka  [T^  —  Pice,  2  Fl.  (tremolando) . 
No.  108.  „  [2041  —  2  Fl.,  2  Ob.  (high  register). 


No.  109.  Shdherazade,  beginning  —  Total  wood-wind  in  different 
distribution. 

*  Russian  Easter  Fite  [a]  —  3  Fl.  tremolando  (cf.  Ex.  176). 

*  Tsar  Saltan  [45]  Ob.,  2  Fag. 


No.  110.    Tsar  Saltan,  before   lis  —  mixed  timbres 


No.  111.       „  „         115  ,  and  other  similar  passages — very 

sweet  effect  of  wood-wind  in  three's. 
„       [nT]  -  2  Ob.,  2  Fag. 


81 


Sadko,  Symphonic  Tableau  [T]  —  Ob.,  2  CI.,  Fag. 
*  Sadko,  Opera  [T]  —  Eng.  horn,  2  CI. 

„    ,  before  [T]  —  Total  wood-wind. 

Chords  in  three-part  harmony;  simple 


No.  112.    Sadko 
and  mixed  timbres 


72 


*No.  113.     The  Tsar's  Bride  [126]  Full  wind. 
*No.  114.    Legend  of  Kitesfi,  before 


No.  115. 


90    —  Enclosure  of  parts 
(Ob.  I  in  the  high  register), 
before 


161 


No.  116. 


*  The  Golden  Cockerel 


125 


218 


—  Wind   and   brass 
alternately. 
[T67]  —  Full  wind   except   oboe, 
with  chorus. 
Legend  of  Kitesh  [269]  —  Fl.,  CI.,  Fag. 

—  Various  wind  instruments,  4  part 
harmony  (cf.  Ex.  271). 

—  Ob.,  Eng.  horn,  Fag.,  C-fag;;  cf. 
also  [254]. 

No.  117.    The  Golden  Cockerel,  before  [235]  —   Mixed    timbre; 

2  Fag.  form  the  bass, 
b)  Harmonic  basis  (sometimes  joined  by  the  horns). 
The  May  Night,  Act  III  [T]  —  2  Fag.,  Eng.  horn  (cf.  Ex.  18). 
3  Flutes. 

—  2  CI.,  high  register, 
before  [so]  —  2  Fl.,  Fag. 


Antar 


68 


Snegourotchka 


[Tst]  -  2  Ob.,  2  Fag. 

2  CI.,  low  register  (cf.  Ex.  9). 

Fl.,  Eng.  horn,  CI.,  Fag.  (cf.  Ex.  26). 


274 


283 


No.  118.     Snegourotchka   |292|  —  Widely-divided  harmony   and 

doubling  of  parts  in  the  wind. 
No.  119.  „  [318-319 1  —  2  Flutes. 

Shihirazade,  2i^  movement  [T]  —  2  CI.,  Fag.  (sustained  note  in 

the  horn)  (cf.  Ex.  1). 
The  Christmas  Night  [T]  —  3  CI. 
Sadko  \T\  —  CI.,  Bass  cl.,  Fag.,  C-fag. 
No.  120.    Sadko  [49]  —  Ob.,  Cl.,  Horn,  Fag. 

—  2  Cl.  (cf.  Ex.  289,  290). 


Sadko 

n 

49 
99 

—    82    — 
No.  121.    Sadko  [ni]  —  CI.,  Fag. 


No.  122. 

The  Tsar's  Bride 


80 


Servilia 


59 


195-196]  —  2  CI.,  Bass  cl. 
CI.,  Fag. 

harmonic  parts   in  motion,  Fl.  and 
Cl.  (cf.  Ex.  22. 


166 


—  Cl.  (low.  register),  Fag. 
*  No.  123.    Kashiche'i  the  Immortal 
*No.  124.   Legend  of  Kitesh 


80 


52 


55 


68 


No.  124. 


118 


136 


before 


223 


No.  125. 


*  No.  126. 


247 


273 


355 


*  No.  127.   The  Golden  Cockerel 


No.  128. 


Ob.,  Fag»  muted. 

—  Fl.  Fag. 

—  Fl.,  Ob.  (cf.  Ex.  197). 

—  Eng.  horn,  Fag.,  C-fag.  (cf. 

Ex.  199). 

—  niixed  timbre:  2  Ob.,  Eng. 

horn  and  3  Cl. 

—  harmonic  parts  in  motion: 

—  3  Fl.  (low  register) 

and  2  Cl. 

—  Fl.,  Ob.,  Cl.  (cf.  Ex.  31). 

—  2  Cl.,  Bass  cl. 

—  Eng.  horn,  2  Cl.  and  Bass 

cl..  Fag. 

—  Eng.  horn,  muted,  CI.,  2  Fag. 
—  Cl.,  Bass  cl..  Fag.,  C-fag. 

Bass  cl.,    Fag.;    Fl.,    Cl.; 

Cl.,  Bass  cl. 
harmonic  parts  in  motion: 
Fl.  and  Cl. 


40—41 


[156] 


Harmony  in  the  brass. 

Here,  as  in  the  wood-wind,  part  writing  should  be  of  the  close 
order  with  no  empty  spaces  in  the  intervals. 

Four-part  writing. 

It  is  evident  that  the  quartet  of  horns  presents  every  facility  for 
four-part  harmony,  perfectly  balanced  in  tone,  without  doubling 
the  bass  in  octaves: 


83 


Note.  In  the  diagrams  of  the  present  section  the  actual  sounds  of  horns 
and  trumpets  are  given,  as  in  a  piano  score,  for  the  sake  of  simplicity. 

When  it  is  found  necessary  to  double  the  bass  in  octaves,  the 
too  resonant  trombone  and  tuba  are  seldom  used,  the  duplication 
being  effected  by  the  bassoon,  as  explained  further  on.  The  quartet 
of  trombones  and  tuba  is  not  often  employed  in  close  four-part 
harmony;  the  third  trombone  and. the  tuba  usually  form  the  bass 
in  octaves,  and  the  three  upper  parts  are  generally  allotted  to  the 
two  remaining  trombones  reinforced  by  a  trumpet  or  two  horns 
in  unison,  so  as  to  obtain  a  perfect  balance  of  tone: 


g  2Corni    (ITr-ba) 


Tuba  •» 


Tuba 


or        ^.  Tuba 

I  have  often  adopted  the  following  combination  of  brass  instru- 
ments, and  consider  it  eminently  satisfactory:  2  horns  and  tuba  to 
form  the  bass  in  octaves,  the  three  other  parts  given  to  the  trombones: 


m 


zsrt 


3  Tr-bni 


**  '-i  Uorin 


(beautiful  full  resonance). 


Tuba 


In  the  higher  registers,  four-part  harmony,  of  which  the  two  upper 
parts  are  given  to  the  trumpets,  may  be  completed  by  two  trom- 
bones or  four  horns  in  pairs: 


-ni »3^TI^.b0 

tnUTr-bc 

^feTr.bui[^ 3 

f^-O 

4  Uorni  i^r 

When  3  trumpets  are  available  the  fourth  part  should  be  allotted 
to  one  trombone,  or  two  horns  in  unison: 


* 


\V\  a  Tr.bc 


»l3Tr-bo-H 


1  Tr-bne  •»■  2  Corni 

Enclosure  of  parts  may  be  used  in  single  chords: 

4  Cor. 


3  Tr.bc 


g^ 


"TPaiy-bni-i 


6* 


84 


or  in  progression: 


Three-part  writing. 

The  best  combination  is  trombones,  horns,  or  trumpets  in  three's. 
If  the  instruments  are  mixed  the  number  of  horns  should  be 
doubled: 


^4Coi 


a  Tr-be  [ 


^ 


ff^qg 


2  Cor. 


.  ^       rt-.  2 Cor  „ 


paXnibni  y. 


etc. 


Writing  in  several  parts. 

When  the  whole  group  is  used'  the  number  of  horns  should  be 
doubled: 


I 


g Tr-be  [-^j- 


,]4CorTii 


—  1.3Tr-bni 


3E 


»  l''--boC» 


—  4  Corn i 


^TftrbfH- 


i 


!JTp.boC» 


U]4Comi 


rT|.'^Tr-bm  _a 


333 


Hl'<'»V-W^^ 


**■  2  CornT 


f"U-Tfe}HH| 


etc. 


Tub.i    ^ 


Tuba 


Tuba    «» 


Tuba 


In   seven,  six,  or   five-part  harmony    certain   instruments   must 
be  omitted: 


1  Tp-bn  ti 


m 


^m 


4  Corni 


llTr.bni 


\\]  A    Tp.be        =a^r-bc     "o -a-t^^»fm 


3  Tp-bf 


Hr^l-^H 


l^     rf   l>-t>m 


«»•  Tuba 


«-  Tuba 


«■  Tuba 


aTr-hc-  Ji 


— «>1  ,   .,        . 
.»—    ^  ITorni 


^ 


n    1   i>-biio 


ti]  U  Tp.bS^ 


ffi 


1  ■?   Ti'-hni 


etc. 


*^  Tuba 


«■  Tuba 


Discords  of  the  seventh  or  second  are  preferably  entrusted  to 
instruments  of  different  tone  colour: 


—    85    — 


i 


m 


3  Tr-bni 


;*rp-bo 


4Corni 


TITf-lio  [8 
L-TT 


—  4Corni 
"J 


3Tr.bD»( 


Bl 


Tuba 


Tuba 


When  such  chords  are  written  for  an  orchestra  which  only 
includes  two  trumpets,  it  is  impossible  for  the  horns  to  proceed  in 
pairs.  In  such  cases  the  following  arrangement  may  obtain,  the 
horns  being  marked  one  degree  louder  than  the  other  instruments, 
to  secure  balance  of  tone: 


t 


15Tp.bc 


m 


J        g.]4Lorn=T^ 


2  Tr-bni  f— 


§i^ 


I 


"^  Tuba/- 

The  same  method  .should  be  followed  whenever  the  use  of  horns 
in  pairs  fails  to  produce  satisfactory  tone. 

When  chords  of  widely-divided  harmony  are  distributed  through- 
out several  harmonic  registers,  the  register  occupied  by  the  horns 
need  not  be  doubled;  the  arrangement  of  the  chord  will  re- 
semble that  of  a  chorale  written  for  double  or  triple  choir.  For 
example: 


Tuba     zPJ 


Tuba 


Duplication  in  the  brass. 

Duplication  in  the  brass  group  is  most  frequently  effected  by  placing 
a  chord  for  horns  side  by  side  with  the  same  chord  written  tor 
trumpets  or  trombones.  The  soft  round  quality  of  the  horns  inten- 
sifies the  tone,  and  moderates  the  penetrating  timbre  of  the  trum- 
pets and  trombones: 


—    86     — 


i 


a  Tr-b 


^m 


^i — T ^TTT  4  Cop. 


a  Uior. 


Tuba 


* 


a  Tr-b*' 


;"tU'!;'[85]»1^^- 


i 


Similar  juxtaposition  of  trumpets  and  trombones: 


3Tr-be 


wm 


a  Tr-bni 


is  not  so  common,  as  this  unites  tiie  two  most  powerful  agents 
in  the  group. 

In  handling  an  orchestra  the  brass  is  frequently  employed  to  sus- 
tain notes  in  two  or  three  octaves;  this  sphere  of  activity  must  not 
be  ignored.  The  tenuto  is  generally  given  to  two  trumpets,  or  to 
two  or  four  horns,  in  the  octave,  (in  double  octaves).  The  octave  is 
sometimes  formed  by  trumpets  and  horns  acting  together: 


fe 


2Tr-he 


2  Corni 


4  Corni 


1  Tr-ba 


wry 


«»-2Cor"rr 


The  trombone  with  its  ponderous  tone  rarely  takes  part  in  such 
combinations.  Sustained  notes  in  double  octaves  are  usually 
apportioned  thus: 


=°^Tf; 


U'lVbo 


it^OPMI 


The  imperfect  balance  arising  from  the  duplication  of  the  middle 
note  is  compensated  for  by  the  mixture  of  timbres,  which  lends 
some  unity  to  the  chord. 

Examples  of  harmony  in  the  brass: 
a)  Independent  chords: 
Snegourotchka  [j^J  —  3  Trombones,  2  Horns. 

[140]  —  3  Trombones,  2  Horns.  Chords  in  different 
groups  alternately  (cf.  Ex.  244). 
„  |i7i  I  —  Full  brass;  further  on  3Trombones  (cf.Ex.97). 

255 1  —  4  Horns  (stopped). 


—    87    — 


No.  129.   Snegourotchka,  before 


28^ 


289 


—  4  Horns. 

—  Full  brass. 


*Sadko,  before  [T]  —  Full  brass  (enclosure  of  parts). 
No.  130.   Sadko  |i75|  —  Mixed  timbres  (juxtaposition)  3  Horns 

+  3  Trpmpets. 
„      before  [aas]  —  Full  brass  except  Tuba. 

(Full  brass). 


No.  131. 


191  —  193 


No.  132.    The  Christmas  Night,  before  \m\  —  Full  muted  brass. 
„  „  ,,181   —  4  Horns +  3  Trombones 

+  Tuba  (cf.  Ex.  237). 

Strings  and  brass  alternately  (cf.Ex.242). 
7'-lL  bar.  —  2  Trumpets,  2  Trom- 
bones -(-  4  Horns  (juxtaposition). 
—  Full  brass,  thicHly  scored  (cf. 


178 


*  The  Tsar's  Bride 

*  No.  133.    Tsar  Saltan 


102 


*  Servilia 


154 


Table  of  chords  No.  II  at  the  end  of  Vol.  II,  Ex.  12). 
Various  brass  instruments. 

—  3  Trumpets,  Trombone  and  Tuba. 

Short  chords  (juxtaposition). 


130 


199 


115 


—  Horns,  Trombones  (en- 


*  Legend  of  Kitesh 
No.  134.    Legend  of  Kitesh 

*  No.  135.    The  Golden  Cockerel 
closure), 
b)  Harmonic  basis: 

No.  136.   Snegourotchka  [t?],  6t!i  bar.  —  4  Horns. 

„  231   —  3  Trombones,  soft  and  sweet  (cf. 

Ex.  8). 
Antar 


64-65 


4  Horns;  later  3  Trombones  (cf.  Ex.  32). 


H 

> 

K 

* Shihirazade,  I5i  movement,  [a],  [e], 
bases  of  different  power  and  timbre  (cf.  Ex.  192 
No.  137 


93 


Servilia 
*  No.  138.    Tsar  Saltan 


,  [m]  —  Harmonic 
—195). 
—  Full  brass. 

—  4  muted  Horns  +  3  Trombones 
and  Tuba  con  sard.  pp. 
„  „      before  [mt]  —  Full  brass  //  (the  2  Oboes 

and  Eng.  horn  are  of  no  particular  importance). 

4  Horns,  then  Trombones,  2  Horns. 
Trumpets,  Trombones. 


136, 


,9*Abar. 


*  Pan  Voyevoda 

•No.  139.    Legend  of  Kitesh 

No.  140. 


158 


1 248 1  —  3  Trombones, 
before  1 362 1  —  Full  brass. 


Harmony  in  combined  groups. 

A.  Combination  of  wind  and  brass. 

Wind  and  brass  instruments  may  be  combined  by  the  method 
of  placing  a  chord  in  one  timbre  side  by  side  with  the  same  chord 
in  another  timbre,  or  by  any  of  the  three  methods  already  described: 
overlaying,  crossing  and  enclosure  of  parts. 

1.  In  unison  (juxtaposition  or  contrast  of  tone  qualities). 
This  class  of  combination  possesses  the  same  features  as  combi- 
nations in  the  melodic  line  (cf.  Chap.  II).    Wood-wind  reinforces 
the  brass,  softens  it  and  reduces  its  characteristic  qualities.    Arrange- 
ments such  as  the  following  are  possible: 

2  Trumpets  +  2  Fl.;      2  Trumpets  +  2  Ob. 

3  Trumpets  +  3  Fl.;      3  Trumpets  +  3  Ob. 
Also 

2  Fl 


2  Trumpets +  2  CI. 

3  Trumpets  -f  3  CI. 


i 


S 


2  Tr.be 


!S  C'orni- 


etc. 


2  Horns +  2  CI.; 

3  Horns +  3  CI.;  and: 


as  well  as: 

2  Horns +  2  Fag.; 

3  Horns +  3  Fag.; 
2  Horns  -f  2  Fag.  +  2  CI.  etc. 

The  combination  3  Trombones  -|-  3  Fag.,  or  3  Trombones  -{-  3  CI. 
are  very  rare. 

A  chord  scored  for  full  brass  doubled  by  the  same  chords  scored 
for  full  wood-wind  (in  pairs)  produces  a  magnificent  and  uniform  tone. 

Examples: 
—  2  Horns +  2  CI.  and  2  Horns-f  2  Ob.  (cf. 


315 


50 


142 


—  4  Horns  +  2  CI.,  2  Fag. 

—  Juxtaposition    of   full  wind 


Snegourotchka 
Ex.  236). 

No.  141.    The  Tsar's  Bride 

No.  142.      „ 
and  brass. 

Ivan  the  Terrible,  Act  II  [sol  —  Juxtaposition  and  enclosure  (cf. 
Table  of  chords  II,  Ex.  8). 

No.  143.    The  Christmas  Night  [Tas]  —  4  Horns  -|-  Fl.,  CI.,  Fag. 


—    89    - 


*  No.  144.  Sadko,  before  [79]  —  Horn,  Trumpet -[- doubled  wood- 
wind (1). 
No.  145.       „       [242]  —  Full  brass +  F1.,  CI. 
Legend  of  Kitesh,  beginning  —  Horn,  Trombones -f  CI.,  Fag.  (cf. 
also  [5]  —  Ex.  24^). 


No.  146.    Legend  of  Kitesh  |_ioJ  —  Eng.  horn,  2  CI.,  Fag.  legato 

+  4  Horns  non  legato. 
—  Full  brass -|- wind. 


324 


*No.  147.    The  Golden  Cockerel  [2^  -  Horn  +  ct  "^^^  ^^ 
Stopped   or   muted   notes  in  trumpets  and  horns  resemble  the 

oboe  and  Eng.  horn  in  quality;  the  combination  of  these  instruments 

produces  a  magnificent  tone. 

Examples: 

No.  148.  Russian  Easter  Fete,  p.  11.  —  Horn  (-t).  Trumpets  (low 
register)  +  Ob.,  CI. 

*  The  Christmas  Night,  before  [T54]  —  Full  muted  brass  -|-  wind. 
*No.  149.    Tsar  Saltan  [129]  —  2  Ob.,  Eng.  horn,  +  3  Trumpets 

muted  (3  CI.  at  the  bottom). 
*No.  150.  „  „      [TaT],  171I1  bar.  —  Same  combination  with 

added  horns. 

*  No.  151.    Antar  \T\  —  Ob.,  Eng.  horn,  2  Fag.  +  4  Horns  (+). 
A  beautiful  dark  tone  is  derived  from  the  combination  of  middle 

notes  in  stopped  horns  and  deep  notes  in  the  clarinet: 

+ 

^.'Jl'oi-.[^g]  iJClar. 


If  bassoons  are  substituted  for  clarinets  the  effect  loses  part  of 
its  character. 

Examples  : 

*Kashtchei  the  /m/wr/a/ [29],  11  lH bar.  — 2 Ob.,  2 CI. +  4 Horns (+). 

,  6ili  bar.  —  2  CI.,  Fag.  +  3  Horns  (+). 


107 


The  Christmas  Night,  p.  249  —  CI.,  Fag.  +  3  Horns  (+). 


*  Mlada,  Act  III  |_i9j  —  3  Horns  {+)  +  3  Fag.  and  3  Horns  (+)  + 
3  Ob.  (cf.  Ex.  259). 

(1)  In  the  full  score  a  misprint  occurs  in  the  clarinet  part;  it  is  corrected 
in  the  example.  (Editor's  note.) 


—    90 


2.  Overlaying  (superposition),  crossing,  enclosure  of  parts. 
It  has  already  been  stated  that  the  bassoon  and  horn  are  the 
two  instruments  best  capable  of  reconciling  the  groups  of  wood- 
wind and  brass.  Four-part  harmony  given  to  two  bassoons  and 
two  horns,  especially  in  soft  passages,  yields  a  finely-balanced  tone 
recalling  the  effect  of  a  quartet  of  horns,  but  possessing  slightly 
greater  transparence.  In  forte  passages  the  horns  overwhelm  the 
bassoons,  and  it  is  wiser  to  employ  four  horns  alone.  In  the  former 
case  crossing  of  parts  is  to  be  recommended  for  the  purposes  of 
blend,  the  concords  being  given  to  the  horns,  the  discords  to  the 
bassoons: 


and  not: 


S 


2Fngrsi 


^J  ^^'^''•- 


Bassoons  may  also  be  written  inside  the  horns,  but  the  inverse 
process  is  not  to  be  recommended: 

2Cor.rqQ.i2  Faff 


The  same  insetting  of  parts  may  be  used  for  sustained  trumpet 
notes  in  octaves.  In  soft  passages,  thirds  played  in  the  low  register 
of  the  flutes,  sometimes  combined  with  clarinets,  produce  a  beauti- 
ful mysterious  effect  between  trumpets  in  octaves.  In  a  chain  of 
consecutive  chords  it  is  advisable  to  entrust  the  stationary  parts 
to  the  brass,  the  moving  parts  to  the  wood-wind. 

Clarinets,  on  account  of  their  tone  quality  should  rarely  be  set 
inside  the  horns,  but,  in  the  Upper  register,  and  in  the  higher  har- 
monic parts,  a  chord  of  four  horns,  (piano),  may  be  completed 
by  clarinets  as  effectively  as  by  oboes  or  flutes;  the  bassoon  may 
then  double  the  base  an  octave  below: 


$ 


^ 


4  Corni 


m 


S 


3  Clar.  ou  3  Olx 
ott  3  Fli 


Played  forte,  the  horns  are  more  powerful  than  the  wood-wind; 
balance  may  be  established  by  doubling  the  upper  harmonic  parts: 


91 


2  Ob 


Fag- 


Examples: 
a)  Superposition. 

*  Sadko,  Symphonic  Tableau  [[] ,  0  —  Fl.,  Ob.,  CI.,  Horn  (basis). 

before  [u]  —  2  Fi.,  CI.,  Horns, 
final  chord  —  Fl.,  CI.,  Horn. 

*  Antar  |^2]  —  Fl.,  CI.,  Horns  (basis). 

No.  152.    Antar  [se]  —  3  Fl.,  4  Horns  (basis). 

*  Snegourotchka  |30o|  —  Full  wind  and  horns. 

*  Sheherazade  —  Final  chords  of  liL  and  4^-^  movements. 

*  Russian  Easter  Fete  [jT]  —  Fl.,  CI.,  Horn;  later  trumpets  and 
trombones  in  juxtaposition  (cf.  Ex.  248). 

*  No.  153.   The  Christmas  Night  [2i2] ,  lOiH  bar.  —  Wind  and  Horns; 

trumpets  and  trombones  added 
later. 

],. 


215 


3  FI.+  3  CI. 
3  Horns 


*  Sadko,  Opera  1 165 1  —  Juxtaposition  ana  Superposition. 
No.  154.  Sadko  [ass]  —  Same  distribution. 
No.  155.  Servilia  \n\  '  "• +„2„0^;.  O- 
*No.  156.  Legend  of  Kitesh,  before 


157  —3  Flutes,  3  Trombones. 
„      „        „      final  chord  (cf.  Table  III  of  chords, 
Ex.  15). 

*TheGolden Cockerel,  before  |2i9|  -  Mixed  timbre  of  wood-wind, 
4  Horns. 

b)  Crossing. 

*  The  Christmas  Night,  before  [si]  —  Horn.,  Fag. 

„        [Tot]  —  Clar.,  Horn.,  Fag. 

*  Legend  of  Tsar  Saltan,  before 

*  The  Golden  Cockerel 


62 


220 


Horn.,  Fag. 
—  3   Trombones,    2   Fag.,  C-fag. 
(cf.  Ex.  232). 
*  No.  157  Antar,  before  [io]  — Wood-wind,  Horns,  then  Trumpets. 


92     — 


c)  Enclosure: 

No.  158.  Ivan  the  Terrible,  Act  I 
horns  within  bassoons. 

No.  159.  Snegourotchka  [Tsa]  — 


33 


.  —  Flutes  within  horns;  later 


*Sadko,  symphonic  tableau 


Trumpet 
Fl.,  2  CI. 
Trumpet 

CI.  +  Fagr. 
—  4  Horns 
CI.  +  Fag. 


*  Antar  before 


37 


105 


Fag. 

—  2  Horns  (+) 
CI. 

—  Harmonic  basis;  oboes  within,  trumpets 


*Sadko,  Opera 
(cf.  Ex.  260). 

*  No.  160.   Sadko,  Opera,  before  [T55] —  Flutes  within  trumpets. 

*  The  Tsar's  Bride,  end  of  Overture  —  Bassoons  within  horns 
(cf.  Table  Jll  of  chords,  Ex.  14). 

*Nr.  161.   Tsar  Saltan  so  — Trumpets  within  wood-wind  doubled. 

No.  162.  „  „  [59]  —  Flutes  within  trumpets;  clarinets 
within  horns. 

*Nr.  163.  Legend  of  Kitesh  [82]  —  Oboes  and  clarinets  within 
trumpets. 

The  relationship  which  has  been  shown  to  exist  between  stopped 
horns  and  oboe  or  Eng.  horn  authorizes  the  simultaneous  use  of 
these  instruments  in  one  and  the  same  chord,  played  p  or  sfp: 


i 


rflii  Ob. 


^P 


f  UorooH^ 


Examples: 
*  The  Christmas  Night  [ts]  —  3  Horns  (+)  +  Oboe. 

Ob.,  Eng.  horn,  Horn  (+)  (cf.  Ex.  240). 
—  CI.,  2  Fl.,  +  2  Ob.,  Eng.  horn,  3  Horn  (+). 


The  Tsar's  Bride 
*  Legend  of  Kitesh 


123 


244 


2  Ob.,  Eng.  horn  1  „ 
3  Horns  (+)      J  °' 


*Nr.  164.  Legend  of  Kitesh,  before  [255] 

*Cf.also  Tsar  Saltan,  before  [TIs]  —  2FL'^2Vag.  C^^-  l^^)- 

If  trumpets  and  trombones  take  part  in  a  chord,  flutes,  oboes 
and  clarinets  are  better  used  to  form  the  harmonic  part  above  the 
trumpets.    The  following  should  be  the  arrangement: 


—    93 


0 

*ji20b.  +  2  Fl 

8]20b.  +  2FI 
— no  anifi^ 

Fl+Ob. 
^.FI  +C1. 

^^iJTr.boC^^/ H 

3  rr-  bo  rH ^-^^^^ j 

eM 1 

|Mi>.bCc„   ^-■-•■.g^ 

**   4Corni 

3Tr.bni 
*?^ ^— 

p& 

3Tr-bni 

—     4  Corni 

3Tr-bfii| 

-    4  Cor. 

[ft 

[o 

1 

'   Tuba  1 

**    '   n 

C-faff  «* 


3F1.  +  3  0b 


fi3  2  Fl 

2  0b.[e, 


Tuba 


2Fl.+  2  0b. 


I'r-bo  c^n^g^^F 


aob.-fsci.c 


Q  Fl.  pice. 
««•  2  Fl 


Si; 


eS 


2Flt20b*2Ci 


I'r-be 


a  (Jor-     ^ 


oJ  ■i  'I'p-bo 


S 


:^ 


>i  Uor. 
Sl3Tr-bni 


4  Cur- 


it:!?  Fa  ti-.  r°^ 


3  Tr-bni 


ij^' 


•^■•o''"'rsgv. 


Tuba  L^frr 


2  Fag.    __  = 
L««-  Tuba 


•»«■  2  Fag. 


*Sadko,  symphonic  tableau  [20]. 

*  No.  165.    7/ie  May  Night,  Act  I  [e£|  —  3  Trombones,  2  Ob. 

+  2  CI. +  2  Fag. 
„        „  „      p.  325.  —  Final  chord,  C  maj.  (cf. 

Table  I  of  chords,  Ex.  1). 

*  No.  166.    Snegourotchka  |i98|;  cf.  also  [200]  and  before 


210 


* Se'he'razade,   1-  movement  [e],  2^  movement    P  ,  3i^  move- 
,  41I1  movement  p.  203  (cf.  Ex.  195,  19,  210,  77). 


ment 


M 


Nr.  167.    The  Christmas  iV/g/z/ [205] ;  cf.  also  [Tel],  [2T2],  r4'A  bar. 
(Ex.  100,  153). 

*Mlada,  end  of  Act  1  (cf.  Chord  Table  11,  Ex.  13).    Act  II 


20 


No.  168—169.  Sadko,  Opera,  before  [249],  [302];  cf.  also  E.\.  120). 


—    94    —  1 

No.  170.    Sadko,  Opera  1 244 1  —  Chord  of  widely  extended  range; 


bassoons  at  the  limit  of  low  compass. 
[T42] ,  [239] ;  cf.  also  [3]  (Ex.  86). 


The  Tsar's  Bride  [T79]  (cf.  Ex.  243). 

Alternation  of  notes  in  horns  and  wood-wind  on 


Antar 


65 


trombone  chords  (cf.  Ex.  32). 

General  observations.  It  is  not  always  possible  to  secure  proper 
balance  in  scoring  for  full  wood-wind.  For  instance,  in  a  suc- 
cession of  chords  where  the  melodic  position  is  constantly  chang- 
ing, distribution  is  subordinate  to  correct  progression  of  parts. 
In  practice,  however,  any  inequaHty  of  tone  may  be  counterbalanced 
by  the  following  acoustic  phenomenon:  in  every  chord  the  parts 
in  octaves  strengthen  one  another,  the  harmonic  sounds  in  the 
lowest  register  coinciding  with  r.nd  supporting  those  in  the  highest. 
In  spite  of  this  fact  it  rests  entirely  with  the  orchestrator  to  obtain 
the  best  possible  balance  of  tone;  in  difficult  cases  this  may  be 
secured  by  judicious  dynamic  grading,  marking  the  wood-wind  one 
degree  louder  than  the  brass. 

B.    Combination  of  strings  and  wind. 

1.  We  frequently  meet  with  the  combination  of  strings  and  wood- 
wind in  the  light  of  comparison  of  one  timbre  with  another,  either 
in  long  sustained  notes,  or  tremolando  in  the  strings.  Apart  from 
the  complete  or  partial  doubling  of  the  string  quartet  (two  methods 
frequently   used),  the  general  and  most  natural  arrangement  is: 

Ob.(Ci.)  +  Vnidiv.;  ^[^J;  + 'Cellos -f  Violas  div.,  etc. 

Examples: 
*  Sadko,  Symphonic  lableau  before  [T],  andjT],  9*-l?  bar. 


*  Sheherazade,  l5i  movement   M   6  Vni  soli  -[-  2  Ob.  (2  Fl.),  CI. 


*  Antar  |T]  —  String  quartet  divisi  +  wood-wind  (cf.  Ex.  151). 

*  No.  171.    Antar  [sTl  —  Vni  II,  Violas  div.  +  Fl.,  Horn  (florid 


accompanifnent  in  the  Clar.). 


*  Legeu:'  of  Kitesh    295   —  the  same;  rhythmic  motion  in  the 


wind,  sustained  harmony  in  the  strings  (cf.  Rx.  213). 


—    95    — 

2.  Owing  to  the  complete  absence  of  any  affinity  in  tone  quality, 
the  combination  of  strings  with  brass  is  seldom  employed  in  juxta- 
position, crossing,  or  enclosure  of  parts. 

The  first  method  may  be  used  however  when  the  harmony  is 
formed  by  the  strings  tremolando,  and  the  brass  is  employed  in 
sustaining  chords,  also  when  the  strings  play  short  disconnected 
chords,  sforzando.  Another  possible  exception  may  be  mentioned; 
the  splendid  effect  of  horns  doubled  by  divided  violas  or  'cellos. 

Examples: 

Snegourotchka  [242J  — Full  brass  +  strings  fr^/no/and(?(cf.l5L  Table 
of  chords,  Ex.  6). 


Legend  of  Kitesfi,  before  240  —  the  same  (Horn,  Trumpet  +). 


*Sadko,  Opera,  before  [34]  —  Horn  +  Violas  div.,  Trombones  -f- 
'Cellos  div.  (1). 

C.    Combination  of  the  three  groups. 

The  combination  of  strings,  wood-wind  and  brass  instruments, 
set  side  by  side,  produces  a  full,  round  and  firm  tone. 

Examples: 


No.  172.    The  Tsar's  Bride,  before  [hsJ  —  Ob.,  Fag.  +  Horns 

+  Strmgs. 
„        „  „       final  chord  (cf.  Table  I  of  chords, 

Ex.  5). 
*No.  173.  Sadko,  end  of  I2i  tableau  —  short  chords.   Last  chords 
of  the  151,  31^  and  711i  tableaux  (cf.  Table  I  and  III,  Vol.  II,  Ex.  9, 
10,  18). 


*No.  174.   The  Christmas  Night  [22J  —  W^ind  +  Brass  csord.  -\- 
tremolo  strings. 


Legend  of  Kitesh  [mj  (cf.  Ex.  250). 

Snegourotchka  —  end  of  opera,  (cf.  Table  III  in  Vol.  II,  Ex.  17) 
and  a  host  of  other  examples. 

(1)  A  splendid  example  of  the  combination  of  strings  and  brass  may  be 
found  in  the  introduction  to  the  2jl^  scene  of  the  411l  act  of  " Khovanstchina" 
by  Moussorgsky,  orchestrated  by  Rimsky-Korsakov.  (Editor's  note.) 


—    96    — 

General  Observations.  Balance  and  correct  distribution  of  tone 
is  much  more  important  in  dealing  with  long  sustained  chords  or 
those  of  rhythmic  design;  in  the  case  of  short,  disconnected  chords 
resonance  is  a  minor  consideration,  but  one  which  should  not  be 
entirely  neglected. 

I  have  endeavoured  to  outline  the  general  principles  to  be 
followed,  but  I  do  not  profess  to  deal  with  all  the  countless  cases 
which  may  arise  in  the  course  of  orchestration.  I  have  given  a 
few  examples  of  well-sounding  chords;  for  further  information  I 
advise  the  reader  to  study  full  scores  with  care,  as  this  is  the 
only  method  to  acquire  perfect  knowledge  of  the  distribution 
and  doubling  of  various  instruments. 


Chapter  IV. 

COMPOSITION  OF  THE  ORCHESTRA. 

Different  ways  of  orchestrating  the  same  music. 

There  are  times  when  the  general  tone,  character  and  atmo- 
sphere of  a  passage,  or  a  given  moment  in  an  orchestral  work  point 
to  one,  and  only  one  particular  manner  of  scoring.  The  following 
simple  example  will  serve  for  explanation.  Take  a  short  phrase 
where  a  flourish  or  fanfare  call  is  given  out  above  a  tremolando 
accompaniment,  with  or  without  change  in  harmony.  There  is  no 
doubt  that  any  orchestrator  would  assign  the  tremolo  to  the  strings 
and  the  fanfare  to  a  trumpet,  never  vice  versa.  But  taking  this  for 
granted,  the  composer  or  orchestrator  may  still  be  left  in  doubt. 
Is  the  fanfare  flourish  suitable  to  the  range  of  a  trumpet?  Should 
it  be  written  for  two  or  three  trumpets  in  unison,  or  doubled  by 
other  instruments?  Can  any  of  these  methods  be  employed  without 
damaging  the  musical  meaning?  These  are  questions  which  I  shall 
endeavour  to  answer. 

If  the  phrase  is  too  low  in  register  for  the  trumpets  it  should 
be  given  to  the  horns  (instruments  allied  to  the  trumpet);  if  the 
phrase  is  too  high  it  may  be  entrusted  to  the  oboes  and  clarinets 
in  unison,  this  combination  possessing  the  closest  resemblance 
to  the  trumpet  tone  both  in  character  and  power.  The  question 
whether  one  trumpet  or  two  should  be  employed  must  be  decided 
by  the  degree  of  power  to  be  vested  in  the  given  passage.  If  a 
big  sonorous  effect  is  required  the  instruments  may  be  doubled, 
tripled,  or  even  multiplied  by  four;  in  the  opposite  case  one  solo 
brass  instrument,  or  two  of  the  wood-wind  will  suffice  (1  Ob.  -f  1  CI.). 
The  question  whether  the  tremolo  in  the  strings  should  be  supported 


—    98    — 

by  sustained  harmony  in  tiie  wood-wind  depends  upon  the  purpose 
in  view.  A  composer  realises  his  intentions  beforehand,  others 
who  orchestrate  his  music  can  only  proceed  by  conjecture.  Should 
the  composer  desire  to  establish  a  strongly-marked  difference  between 
the  harmonic  basis  and  the  melodic  outline  it  is  better  not  to 
employ  wood-wind  harmony,  but  to  obtain  proper  balance  of  tone 
by  carefully  distributing  his  dynamic  marks  of  expression,  pp,  p, 
f  and  //.  If,  on  the  contrary,  the  composer  desires  a  full  round 
tone  as  harmonic  basis  and  less  show  of  brilliance  in  the  harmonic 
parts,  the  use  of  harmony  in  the  wood-wind  is  to  be  recommended. 
The  following  may  serve  as  a  guide  to  the  scoring  of  wood-wind 
chords:  the  harmonic  basis  should  differ  from  the  melody  not  only 
in  fullness  and  intensity  of  tone,  but  also  in  colour.  If  the  fanfare 
figure  is  allotted  to  the  brass  (trumpets  or  horns)  the  harmony  should 
be  given  to  the  wood-wind;  if  the  phrase  is  given  to  the  wood-wind 
(oboes  and  clarinets)  the  harmony  should  be  entrusted  to  the  horns. 
To  solve  all  these  questions  successfully  a  composer  must  have  full 
knowledge  of  the  purpose  he  has  in  view,  and  those  who  orchestrate 
his  work  should  be  permeated  with  his  intentions.  Here  the  question 
arises,  what  should  those  intentions  be?  This  is  a  more  difficult 
subject. 

The  aim  of  a  composer  is  closely  allied  to  the  form  of  his 
work,  to  the  aesthetic  meaning  of  its  every  moment  and  phrase 
considered  apart,  and  in  relation  to  the  composition  as  a  whole. 
The  choice  of  an  orchestral  scheme  depends  on  the  musical  matter, 
the  colouring  of  preceding  and  subsequent  passages.  It  is  im- 
portant to  determine  whether  a  given  passage  is  a  complement 
to  or  a  contrast  with  what  goes  before  and  comes  after,  whether 
it  forms  a  climax  or  merely  a  step  in  the  general  march  of  musical 
thought.  It  would  be  impossible  to  examine  all  such  possible 
types  of  relationship,  or  to  consider  the  role  played  by  each  passage 
quoted  in  the  present  work.  The  reader  is  therefore  advised  not 
to  pay  too  much  attention  to  the  examples  given,  but  to  study  them 
and  their  bearing  on  the  context  in  their  proper  place  in  the  full 
scores.  Nevertheless  I  shall  touch  upon  a  few  of  these  points  in 
the  course  of  the  following  outline.  To  begin  with,  young  and 
inexperienced  composers  do  not  always  possess  a  clear  idea  of 
what  they  wish  to  do.    They  can  improve  in  this  direction  by  reading 


—    99    — 

good  scores  and  by  repeatedly  listening  to  an  orchestra,  provided 
they  concentrate  the  mind  to  the  fullest  possible  extent.  The  search 
after  extravagant  and  daring  effects  in  orchesfration  is  quite  a 
different  thing  from  mere  caprice;  the  will  to  achieve  is  not  sufficient; 
there  are  certain  things  which  should  not  be  achieved. 


The  simplest  musical  ideas,  melodic  phrases  in  unison  and 
octaves,  or  repeated  throughout  several  octaves,  chords,  of  which 
no  single  part  has  any  melodic  meaning  are  scored  in  various 
ways  according  to  register,  dynamic  effect  and  the  quality  of 
expression  or  tone  colour  that  may  be  desired.  In  many  cases, 
one  idea  will  be  orchestrated  in  a  different  way  every  time  it 
recurs.  Later  on  I  shall  frequently  touch  upon  this  more  compli- 
cated question. 

Examples: 

*  Snegourotchka  58  ;  65  and  before  [as]  —  sustained  note  in  unison. 


There  are  fewer  possible  ways  of  scoring  more  complex  musical 
ideas,  harmonico-melodic  phrases,  polyphonic  designs  etc.;  sometimes 
there  are  but  two  methods  to  be  followed,  for  each  of  the  primary 
elements  in  music,  melody,  harmony,  and  counterpoint  possesses 
its  own  special  requirements,  regulating  the  choice  of  instruments 
and  tone  colour.  The  most  complicated  musical  ideas  sometimes 
admit  of  only  one  manner  of  scoring,  with  a  few  hardly  noticeable 
variations  in  detail.  To  the  following  example,  very  simple  in 
structure  1  add  an  alternative  method  of  scoring: 

Example : 


No.  175.  Vera  Scheloga,  before  |^  —  a)  actual  orchestration, 
*b)  —  another  method. 

It  is  obvious  that  the  method  b)  will  produce  satisfactory  tone. 
But  a  31^  and  4ili  way  of  scoring  would  be  less  succes'sfui,  and  a 
continuation  of  this  process  would  soon  lead  to  the  ridiculous.  For 
instance  if  the  chords  were  given  to  the  brass  the  whole  passage 
would  sound  neavy,  and  the  soprano  recitative  in  the  low  and 
middle   register   would   be   overpowered.     If  the  F  sharp   in  the 

•7* 


100 


double  basses  were  played  arco  by  'cellos  and  basses  together  it 
would  sound  clumsy,  if  it  were  given  to  the  bassoons  a  comic 
effect  would  be  produced,  and  if  played  by  the  brass  it  would 
sound  rough  and  coarse,  etc.  .  .  . 

The  object  of  scoring  the  same  musical  phrase  in  different  ways 
is  to  obtain  variety  either  in  tone  colour  or  resonance.  In  each 
case  the  composer  may  resort  to  the  inversion  of  the  normal  order 
of  instruments,  duplication  of  parts,  or  the  two  processes  in  com- 
bination. The  first  of  these  is  not  always  feasible.  In  the  preceding 
sections  of  the  book  I  have  tried  to  explain  the  characteristics  of 
each  instrument  and  the  part  which  each  group  of  instruments 
plays  in  the  orchestra.  Moreover  many  methods  of  doubling  are  to 
be  avoided;  these  I  have  mentioned,  while  there  are  also  some 
instruments  which  cannot  be  combined  owing  to  the  great  difference 
in  their  peculiarities.  Therefore,  as  regards  the  general  composition 
of  the  orchestra,  the  student  should  be  guided  by  the  general 
principles  laid  down  in  the  earlier  stages  of  the  present  work. 

The  best  means  of  orchestrating  the  same  musical  idea  in  various 
ways  is  by  the  adaptation  of  the  musical  matter.  This  can  be 
done  by  the  following  operations:  a)  complete  or  partial  trans- 
ference into  other  octaves;  b)  repetition  in  a  different  key;  c)  extension 
of  the  whole  range  by  the  addition  of  octaves  to  the  upper  and 
lower  parts;  d)  alteration  of  details  (the  most  frequent  method); 
e)  variation  of  the  general  dynamic  scheme,  e.  g.  repeating  a  phrase 
piano,  which  has  already  been  played  forte. 

These  operations  are  always  successful  in  producing  variety  of 
orchestral  colour. 


Examples. 
No.  176,  177.    Russian  Easter  Fete 

and 


and  [c], 


158 


179 


The  Christmas  Nighty ^ 

No.  178—181.  The  Tsar's  Bride,  Overture:  beginning,  |T|,p2~|,[T[. 

(cf.  Ex.  289,  290,  and  75). 

'0, 


Sadko 


99-101 


and 


305—307 


No.  182—186.    Tsar  Saltan 
No.  187—189 


14 


181 


17 

> 

26 

34 


,  [246], [220]. 


*No.  190—191.    Ivan  the  Terrible,  Overture  \J]  and  [T2] 
Spanish  Capriccio  —  compare  1^  and  3'-^  movement. 


—     101 


*No.  192 — 195.    Sheherazade,  1-  movement  —  beginning  of  the 

fl//£gro[A],|T],  [m]. 
„       31^  movement  —  beginning  |T].  [T] . 

*No.  196—198.    Legend  of  Kitesh 
*  No.  199-201 , 


55 


56 


62 


68 


70 


84 


(Cf.  also  Ex.  213,  214.  Legend  of  Kitesh 
*No.  202— 203.    The  Golden  Cockerel 


294 


and 


312 


.) 


229 


233 


The  process  of  scoring  the  same  or  similar  ideas  in  different 
ways  is  the  source  of  numerous  musical  operations,  crescendo,  dimi- 
nuendo, interchange  of  tone  qualities,  variation  of  tone  colour  etc., 
and  incidentally  throws  new  light  upon  the  fundamental  composition 
of  the  orchestra. 

Full  Tutti. 

The  word  tutti  generally  means  the  simultaneous  use  of  all 
instruments,  but  the  word  "all"  is  used  relatively,  and  it  must  not 
be  inferred  that  every  single  instrument  must  necessarily  be  employed 
to  form  a  tutti.  In  order  to  siinpHfy  the  following  illustrations 
I  will  divide  the  word  into  two  classes,  full  tutti  and  partial  tutti^ 
—  independently  of  whether  the  orchestra  is  constructed  in  pairs, 
in  three's,  or  a  larger  number  of  instrumentSv  I  call  full  tutti  the 
combination  of  all  melodic  groups,  strings,  wind,  and  brass.  By 
partial  tutti  I  mean  passages  in  which  the  brass  group  only  takes 
part,  whether  two  horns  or  two  trumpets  participate  alone,  or 
whether  two  horns  are  combined  with  one  or  three  trombones, 
without  tuba,  trumpets,  or  the  two  remaining  horns,  etc.: 

r4  Horns,        2  Horns  2  Horns  -i 

....    or  2  Trumpets,  or etc.     . 

"-....  3  Trombones  J 

In  both  species  of  tutti  full  wood-wind  may  be  employed  or  not, 
according  to  the  register  and  musical  context  of  the  passage.  For 
instance,  in  the  extreme  high  register  it  may  be  essential  to  include 
the  piccolo;  in  the  low  register  flutes  will  be  unnecessary,  and  yet 
the  passage  can  still  be  called  tutti.  The  inclusion  of  kettle-drums, 
harp,  and  other  instruments  of  little  sustaining  power,  as  of  the 
percussion  in  general,  does  not  come  under  discussion. 


102    — 


The  variety  of  orchestral  operations  increases  with  the  number 
of  instruments  forming  a  tutti,  in  fact,  so  great  does  it  become 
that  it  is  impossible  to  consider  all  combinations.  1  can  only  give 
a  few  examples  of  full  and  partial  tutti,  and  leave  the  reader  to 
draw  his  own  conclusions.  Some  of  these  examples  fall  under  the 
double  heading  of  full  and  partial  tutti,  and  the  student  is  reminded 
that  the  tutti,  is  used  essentially  in  forte  and  fortissimo,  rarely  in 
pianissimo  and  piano  passages. 


Snegourotchka^^  and 


Examples: 
62]  —  Partial  and  full  Tufli, 


231 


Partial  Tutti,  without  the  trumpets  (cf.  Ex.  8). 
No.  204.    Snegourotchka  [JFa]  —  Full  Tutti. 

125^6]  —  Full  Tutti  and  chorus  (cf. Ex.8). 


239 


173 


Full  Tutti  (cf.  Ex.  86). 

—  Full  Tutti  with  chorus,  diffe- 


177 


Sadko  |1],  [223], 

No.  205—206.    Sadko 
rently  scored. 

-No.  207—208.   The  Christmas  Night  [m\  and  [m]  —  Full  Tutti, 
orchestrated  in  different  ways,  with  and  without  chorus. 

*  The  Tsar's  Bride,  Overture  [T| ,  [2] ,  [T|  —  Full  and  partial  Tutti 

(cf.  Ex.  179—181). 


141 


Full  Tutti. 


177 


Pan  Voyevoda 
*Antar 


186 


and 


188 


Full  Tutti. 


65 


—  (cf.  Ex.  32). 


*  No.  209.   Sheherazade,  3il  movement  [m];  cf.  also  1^1  movement 
[a],  [e],  [h];  2si movement  [k],  [p],  [r];  3i^ movement  [g], 

[o];  41I1  movement  \g\,  [p],  [w]  and  farther  on  to  [T|  (No.  193, 
194,  19,  66,  77). 

*  Spanish  Capriccio[B\,  0,  0,  0,  0'  [x^  (cf.  Ex. 3). 

*  Russian  Easter  Fete  [f] ,  [T|,  before  [T],  [y],  up  to  the  end. 
*j!^  Symphony,  lH movement  [p],  |  R— T  | ,  [x];  2ii^  movement 

[a],  [¥] ;  4'A movement  [a] ,  \~h 

*  Sadko,  Symphonic  tableau 


20—24 


*Mlada,  Act  111  [12]  (cf.  Ex.  258). 

*  For  examples  of  Tutti  chords,  see  special  Tables  at  the  end  of  Vol.  II. 


—     103    — 

Tuiii  in  the  wind. 

In  many  cases  the  wood-wind  and  brass  groups  can  form  a  tutti 
by  themselves  for  periods  of  varying  length.  Sometimes  this  is 
effected  by  the  wood-wind  alone,  but  n.ore  frequently  with  the 
support  of  horns.  At  other  times  the  horns  are  found  alone  without 
the  wood-wind,  and,  lastly,  a  tutti  may  be  comprised  of  instruments 
of  each  group  in  varying  numbers.  The  addition  of  kettle-drums 
and  the  rest  of  the  percussion  is  quite  common  and  constitutes  what 
the  Germans  call  "Janitscharenmusik",  or  Turkish  infantry  music. 
Violoncellos  and  double  basses  playing  more  or  less  impor- 
tant pizz.  notes  are  often  added  to  wood-wind  instruments  (tutti), 
likewise  the  remainder  of  the  strings  and  the  harps;  this  process 
renders  the  sustained  notes  in  the  wood-wind  more  distinct.  Tutti 
passages  in  wood-wind  and  horns  do  not  produce  any  great  amount  of 
power  in  jorte  passages,  but,  on  the  other  hand  tutti  in  the  brass 
groups  alone  may  attain  an  extraordinary  volume  of  tone.  In  the 
following  examples  the  formation  of  pedal  notes  by  strings  or  wood- 
wind in  no  way  alters  the  general  character  of  the  Tutti: 

Examples: 


No.  210— 211.     Snegourotclika    149  ,     I5i   (compare) 


Tsar  Saltan   14  ,    17  ,    26    (cf.  Ex.  182—184) 


Pan  Voyevoda  [57],  [Tse],  [262]. 


No.  212.    Ivan  the  Terrible,  Act  II  [lo];  cf.  also  Act.  Ill  [T]. 


*  No.  213— 214.    Legend  of  Kitesh  [294],  [3T2]  (compare). 

*  No. 2 15.    The  Golden  Cockerel  [He];  cf.  also  |^  and  [sT]. 

*  Antar  [37]  (cf.  Ex.  65). 

TuUi  pizzicato. 

The  quartet  of  strings  (pizzicato),  reinforced  occasionally  by 
the  harp  and  piano,  may,  in  certain  cases  constitute  a  particular 
kind  of  tutti,  which  can  only  attain  any  great  degree  of  strength 
by  support  from  the  wood-wind.  Without  this  support  it  is  of  medium 
power,  though  still  fairly  brilliant  in  quality. 


104 


Examples: 
No.  2 16.   Snegourotchka,hefor& 
*  No.  217.    Russian  Easter  Fete 


128 


cf.  also 


153 


and  before 


;  cf.  also  [u]  and  |T|. 


305 


*  Spanish  Caphccio[A],  [c],  before  [s],  before  [p];  cf.also 
(Ex.  56). 
Mlada,  Act  II  [Ts]. 

(cf.  Ex.  295). 


o 


'  Sadko 


220 


*  Legend  of  Kitesh  [Toi]. 

*  No.  218.    Tlie  May  Night,  Act  i,  The  Mayor's  Song 
nation  of  strings,  arco  and  pizz. 


combi" 


Tutti  in  one,  two  and  three  parts. 

It  often  happens  that  a  moderately  full  orchestral  ensemble  exe- 
cutes a  passage  composed  of  one  or  two  harmonic  parts,  in  unison 
or  in  octaves.  Such  melodic  phrases  call  for  more  or  less  simple 
orchestration  with  the  usual  doubling  of  parts,  or,  in  ornamental 
writing,  admit  of  contrast  in  tone  colouring,  occasionally  with  the 
addition  of  sustained  notes. 

Examples: 

,    [176]. 


Snegourotchka, before  \\^_ 
The  Tsar's  Bride 


174 


120—121 


(cf.  Ex.  63). 


215 


The  Golden  Cockerel 

*  No.  219—221.    Legend  of  Kitesh 
Tutti,  with  different  scoring. 


142 


144 


147 


3   part 


Legend  of  Kitesh  [Tas],  |i39|  —  Tutti  in  one  part 


Soli  in  the  strings. 

Although,  in  any  orchestral  piece,  numerous  instances  are  to  be 
found  of  melodies  and  phrases  entrusted  to  a  solo  wind  instrument 
(generally  the  first  of  each  group,  wood-wind  or  brass),  solos  for 
stringed  instruments,  on  the  other  hand,  are  extremely  rare.  Whilst 
the  1^  violin  and  I5i  'cello  are  fairly  frequently  used  in  this  manner, 
the  solo  viola  ist  seldom  found,  and  a  solo  on  the  double  bass  is 
practically   unknown.     Phrases  demanding  particular  individuality 


105    — 


of  expression  are  entrusted  to  solo  instrumenta;  likewise  passages 
that  require  extraordinary  technique,  beyond  the  scope  of  the 
orchestral  rank  and  file.  The  comparatively  weak  tone  of  the  solo 
instrument  necessitates  light,  transparent  accompaniment.  Difficult 
virtuoso  solos  should  not  be  written,  as  they  attract  too  much  atten- 
tion to  a  particular  instrument.  Solo  stringed  instruments  are  also 
used  when  vigourous  expression  and  technical  facility  are  not 
required,  but  simply  in  order  to  obtain  that  singular  difference  in 
colour  which  exists  between  a  solo  stringed  instrument  and  strings 
in  unison.  Two  solo  instruments  can  be  coupled  together,  e.  g. 
2  Violins  soli,  etc.  and  in  very  rare  cases  a  quartet  of  solo  strings 
may  be  employed. 


Examples . 


Violin  solo: 


No.  222—223.    Snegourotchka 
The  May  Night,  pp.  64—78. 
Mlada,  Act  I 


54 


275 


52 


;  Act  III,  before 


19 


*A  Fairy  Tale  |w|. 

*  Sheherazade,  12i  movement 
start  of  each  movement. 

*  Spanish  Capriccio 


also  the  passages  at  the 


*  No.  224.    Legend  of  Kitesh 


310 


and  the  cadence  on  p.  38. 
-  Vn.  solo,  on  harmonic  basis 


of  strings  sul  ponticello  and  wood-wind. 


Snegourotchka    274  ,279—2  Vni  soli  (cf.  Ex.  9) 


Viola  solo: 

No.  225.    Snegourotchka 
Sadko 


212 


137 


*  No.  226.    The  Golden  Cockerel    163  ;  cf.  also    174  ,   177|. 


Violoncello  solo. 


Snegourotchka  [Tst]  (cf.  Ex.  102) 
The  Christmas  Night,  before 
Mlada,  Act  III 


29 


36 


*  The  Golden  Cockerel  [Ttt],  [Tso]  (cf.  Ex.  229) 


—     106    — 


Double  bass  solo. 


•  No.  227.  Mlada,  Act  II  |To-i^ 
first  string  is  tuned  down. 

Solo  quartet: 


a  special  instance  where  the 


The  Christmas  Night 
*  No.  228.  Tsar  Saltan 


222 


248 


Vn.,  Viola,  'Cello,  D.  bass. 
Vn.  I,  Vn.  II,  Viola,  'Cello. 

*The  case  of  a  solo  stringed  instrument  doubled  by  the  wood- 
wind in  unison  must  not  be  forgotten.  The  object  is  to  attain 
great  purity  and  abundance  of  tone,  without  impairing  the  timbre 
of  the  solo  instrument  (especially  in  the  high  and  low  registers), 
or  to  produce  a  certain  highly-coloured  effect. 


52 


*  Mlada,  Act  U 

*  The  Christmas  Night 

*  Pan    Voyevoda 


Examples: 
—  Vn.  +  Fl.;  ActIV 


31 


Viol. +  F1. 4- Harp. 


212 


67 


Legend  of  Kitesh 


306 


309 


*  No.  229.  The  Golden  Cockerel 


—  2yni+  Fl.  4-  Small  CI.  (cf.  Ex.  153). 
—  2  Vni  +  2  Ob.;  2  Violas +  2  CI. 
Bass  cl.  +  C-fag.  (cf.  Ex.  10). 
Vn.  +  FI. 

^  —  Vn.  -f  Pice;  'Cello  +  Bass  cl. 

*  As  shown  in  Chap.  II,  2  Vni  soli  or  Violin  solo  -f  Fl.  (Pice.)  are 
often  sufficient  to  double  a  melody  in  the  upper  register. 

Examples : 

]  —  cf.  Chap.  II,  p.  42  and  Ex.  24. 

Russian  Easter  File,  p.  32  —  2  Solo  violins  (in  har- 


207 


Sadko 

*  No.  230 
monies). 

*  No.  231.   Legend  of  Kitesh  [297]  —  2  Solo  violins -f  Pice. 


Limits  of  orchestral  range. 

It  is  seldom  that  the  entire  orchestral  conception  is  centred  in 
the  upper  register  of  the  orchestra  (the  Sit  and  6i!i  octaves),  still 
more  rarely  is  it  focussed  wholly  in  the  lowest  range  (octaves  1 
and  — 1)  where  the  proximity  of  harmonic  intervals  creates  a  bad 
effect.  In  the  first  case  the  flutes  and  piccolo  should  be  used  along 
with  the  upper  notes  of  the  violins,  soli  or  divisi;  in  the  second 


—     107 


case  the  double  bassoon  and  the  low  notes  of  the  bassoons,  bass 
clarinet,  horns,  trombones  and  tuba  are  brought  into  play.  The 
first  method  gives  brilliant  colour,  the  second  combination  is  dark 
and  gloomy.     The   contrary  would  be  fundamentally  impossible. 


Examnles: 


122 


Pan  Voyevoda 
Servilia  [m],  SiH  bar.  (cf.  Ex.  62) 
No.  232.  The  Golden  Cockerel 
*  Snegourotchka,  before 


220 


;  cf.  also  [iis], 


219 


low 
register. 


25 


34 


high 
register. 


*  Legend  of  Kitesh,  before 

*  No.  233.    The  Golden  Cockerel  [na],  \nT\ 
•No. 234.   Shiherazade,  2!i^  movement  pp.  59—62 

The  upper  and  lower  parts  of  a  passage  can  seldom  be  widely 
separated  without  the  intermediate  octaves  being  filled  in,  for  this 
is  contrary  to  the  first  principles  of  proper  distribution  of  chords. 
Nevertheless  the  unusual  resonance  thus  produced  serves  for  strange 
and  grotesque  effects.  In  the  first  of  the  following  examples  the 
piccolo  figure  doubled  by  the  harp  and  the  sparkling  notes  of  the 
glockenspiel  is  set  about  four  octaves  apart  from  the  bass,  which 
is  assigned  to  a  single  Double  bass  and  Tuba.  But  in  the  3i^  octave, 
the  augmented  fourths  and  diminished  fifths  in.  the  two  flutes  help 
to  fill  up  the  intermediate  space  and  lessen  the  distance  between 
the  two  extreme  parts,  thus  forming  some  sort  of  link  between 
them.    The  general  effect  is  fanciful. 


Examples. 


No.  235.  Snegourotchka 
*  No.  236. 

» 
A  Fairy  Tale  [a]. 


255 


315 


274 


,  5iJi  and  611i  bars, 
(cf.  Ex.  9). 


The  Golden  Cockerel    179  ,  9*li  bar.  (cf.  Ex.  229) 


Transference  of  passages  and  phrases. 

A  phrase  or  a  figure  is  often  transferred  from  one  instrument  to 
another.    In  order  to  connect  the  phrases  on  each  instrument  in 


—     108    — 

the  best  possible  way,  the  last  note  of  each  part  is  made  to  coincide 

with  the  first  note  of  the  following  one.    This  method  is  used  for 

passages  the  range  of  which  is  too  wide  to  be  performed  on  any 

one  instrument,  or  when  it  is  desired  to  divide  a  phrase  into  two 

different  timbres. 

Examples  : 

*  Snegourotchka  |i37|  —  The  melody  is  transferred  from  the  violins 

to  the  flute  and  clarinet  (cf.  Ex.  28). 


*  „  before    I9i   —  Solo  violin  —  Solo  'cello. 

Pan  Voyevoda  57  —  Trombones  —  Trumpets;  Horn  —  Ob.  -|-  CI. 

A  similar  operation  is  used  in  scoring  passages  covering  the 
entire  orchestral  scale,  or  a  great  portion  of  it.  When  one  instru- 
ment is  on  the  point  of  completing  its  allotted  part,  another  instru- 
ment takes  up  the  passage,  starting  on  one  or  two  notes  common 
to  both  parts,  and  so  on.  This  division  must  be  carried  out  to 
ensure  the  balance  of  the  whole  passage. 

Examples: 


Snegourotchka   36  ,  38  ,   I3i  —  Strings. 


The  Tsar's  Bride    190  —  Wood-wind 


Sadko   72  —  Strings  (cf.  Ex.  112). 


[223]  —  Strings. 


The  Christmas  Night,  before  |_i80j  —  Strings,  wind  and  chorus 
(cf.  Ex.  132). 


*  No.  237.    The  Christmas  Night,  before  |_i8£j  —  Shing  figure. 

*  Servilia  [m]  —  Strings  (cf.  Ex.  88). 

[29],  Sin  bar.  —  Ob.  —  Fl.;  CI.  —  Bass  cl..  Fag. 
No.  238.    The  Golden  Cockerel,  before  \V\  —  Wood-wind. 

,,       [5]  — Fag.  — Eng.  horn  (+ 'Cellos 
piiz^. 
*-  ■ 
Chords  of  different  tone  quality  used  alternately. 

1.  The  most  usual  practice  is  to  employ  chords  on  different  groups 
of  instruments  alternately.  In  dealing  with  chords  in  different 
registers  care  should  be  taken  that  the  progression  of  parts,  though 
broken  in  passing  from  one  group  to  another,  remains  as  regular 


—    109    — 

as  if  there  were  no  leap  from  octave  to  octave;  tfiis  applies  specially 
to  chromatic  passages  in  order  to  avoid  false  relation. 

Examples  : 
No.  239.    Ivan  the  Terrible,  Act  II 
No.  240— 241.    The  Tsar's  Bride 
*  No.  242— 243.      „ 


29 

. 

123 

,  before 

124 

178 

1 

179 

•  Note.  The  rules  regulating  pfogression  of  parts  may  sometimes  be  ignored, 
when  extreme  contrast  of  timbre  between  two  adjacent  chords  is  intended. 

Examples: 
'  SMMrazade,  SUi  bar  from  the  beginning)  (the  chromatic  progression  at 
the  12111  bar  is  undertaken  by  the  same  instruments,  the  22^  cl.  is  therefore 
placed  above  the  first  in  the  opening)  —  cf.  Ex.  109. 

•  77ie  Christmas  Night,  opening  (cf.  Ex.  106). 

2.  Another  excellent  method  consists  in  transferring  the  same 
chord  or  its  inversion  from  one  orchestral  group  to  another.  This 
operation  demands  perfect  balance  in  progression  of  parts  as  well 
as  register.  The  first  group  strikes  a  chord  of  short  value,  the 
other  group  takes  possession  of  it  simultaneously  in  the  same 
position  and  distribution,  either  in  the  same  octave  or  in  another. 
The  dynamic  gradations  of  tone  need  not  necessarity  be  the  same 

in  both  groups. 

Examples  : 

Ivan  the  Terrible,  commencement  of  the  overture  (cf.  Ex.  85). 


No.  244.    Snegourotchka    140 


Amplification  and  elimination  of  tone  qualities. 

The  operation  which  consists  in  contrasting  the  resonance  of 
two  different  groups  (*  or  the  different  timbres  of  one  and  the  same 
group),  either  in  sustained  notes  or  chords,  transforms  a  simple 
into  a  complex  timbre,  suddenly,  or  by  degrees.  It  is  used  in 
establishing  a  crescendo.  While  the  first  group  effects  the  crescendo 
gradually,  the  second  group  enters  piano  or  pianissimo,  and  attains 
its  crescendo  more  rapidly.  The  whole  process  is  thereby  rendered 
more  tense  as  the  timbre  changes.  The  converse  operation — the 
transition  from  a  complex  to  a  simple  timbre,  by  the  suppression 
of  one  of  the  groups,  belongs  essentially  to  the  diminuendo. 


—     110 


Examples : 

No.  245.    Snegourotchka  [3T3]. 

[ho]  (cf.  Ex.  244). 
A  Fairy  Tale  [v]. 


Sheherazade,  2^  movement  [d]  (cf.  Ex.  74). 
*         „  41I1  movement  p.  221. 

No.  246.  Servilia  [223];  cf.  also  [44]. 


The  Christmas  Night  [lesj  (cf.  Ex.  143). 
No.  247.  The  Tsar's  Bride,  before  [205 

*  No.  248.    Russian  Easter  Fete  [p]. 

*  No.  249— 250.    Legend  of  Kitesh  [£\,  [^67], 


Repetition  of  phrases,  imitation,  echo. 

As  regards  choice  of  timbre,  phrases  in  imitation  are  subject  to 
the  law  of  register.  When  a  phrase  is  imitated  in  the  upper  register 
it  should  be  given  to  an  instrument  of  higher  range  and  vice  versa. 
If  this  rule  is  ignored  an  unnatural  effect  will  be  produced,  as  when 
the  clarinet  in  its  upper  range  replies  to  the  oboe  in  the  lower 
compass  etc.  The  same  rule  must  be  follov/ed  in  dealing  with 
phrases,  actually  different,  but  similar  in  character;  repeated  phrases 
of  different  character  should  be  scored  in  a  manner  most  suitable 
to  each. 

Examples: 


The  Tsar's  Bride  [T57],  [TeTj 


Legend  of  Kitesh  |40-4i 


No.  251.    Spanish  Capriccio 


In  echo  phrases,  that  is  to  say  imitation  entailing  not  only 
decrease  in  volume  of  tone  but  also  an  effect  of  distance,  the 
second  instrument  should  be  weaker  than  the  first,  but  the  two 
should  possess  some  sort  of  affinity.  An  echo  given  to  muted 
brass  following  the  same  phrase  not  muted  produces  this  distant 
effect.  Muted  trumpets  are  eminently  suited  to  echo  a  theme  in 
the  oboes;  flutes  also  may  imitate  clarinets  and  oboes  successfully. 
A  wood-wind  instrument  cannot  be  used  to  echo  the  strings,  or 


—   Ill   — 

vice  versa,  on  account  of  the  dissimilarity  in  timbre.  Imitation  in 
octaves  (with  a  decrease  in  resonance)  creates  an  effect  resembling 
an  echo. 

Examples: 

Ivan  the  Terrible,  Act  111  \T\. 


No.  252.    Sadko  [264 


*  Spanish  Capriccio     E  .  —  This  example  is  not  precisely  an 


echo  but  resembles  one  in  character  (c.  Ex.  44). 


*  Sheherazade,  41ii  movement  before    O 


Sforzando-piano  and  piano^sforzando  chords. 

Besides  the  natural  dynamic  process  of  obtaining  these  marks 
of  expression,  a  process  which  depends  upon  the  player,  they 
may  also  be  produced  by  artificial  means  of  orchestration. 

a)  At  the  moment  when  the  wood-wind  begins  a  piano  chord, 
the  strings  attack  it  sforzando,  a  compound  chord  for  preference, 
either  arco  or  pizz.  In  the  opposite  case  the  sf  in  the  strings 
must  occur  at  the  end  of  the  wood-wind  chord.  The  first  method 
is  also  employed  for  a  sf-dim.,  and  the  second  for  a  cresc.-sf. 
effect. 

b)  It  is  not  so  effective,  and  therefore  less  frequent  to  give  the 
notes  of  sustained  value  to  the  strings,  and  the  short  chords  to 
the  wood-wind.  In  such  cases  the  tenuto  chord  is  played  tremo- 
lando  on  the  strings. 

Examples: 

Vera  Scheloga,  before  fas],  ffl,  W^  bar. 


No.  253.    Legend  of  Kitesh,  before  |~15-16 


Sheherazade,  2"^  movement,  |T],  1411^  bar. 


Method  of  emphasising  certain  notes  and  chords. 

In  order  to  stress  or  emphasise  a  certain  note  or  chord,  besides 
the  marks  of  expression  ==—  and  sj,  chords  of  2,  3,  and  4  notes 
can  be  inserted  into  the  melodic  progression  by  the  instruments 
of  the  string  quartet,  each  playing  a  single  note;  short  notes  in 
the  wood-wind  may  also  be  used  as  well  as  a  chain  of  three  or 


—     112    — 

four  grace  noles,  in  the  form  of  a  scale,  either  in  strings  or  wood- 
wind. These  unstressed  notes  (anacrusis),  generally  written  very 
small,  form  a  kind  of  upward  glide,  the  downward  direction  being 
less  common.  As  a  rule  they  are  connected  to  the  main  note  by 
a  slur.  In  the  strings  they  should  not  lead  up  to  chords  of  three 
or  four  notes,  as  this  would  be  awkward  for  the  bow. 

Examples: 


No.  254.    The  Tsar's  Bride    142   —  Anacrusis  in  the  strings 


*No.  255.    Sheherazade,  2n^  movement  [c]  —  Short  pizz.  chords. 
„  „  „         [p]  —  Short  wind  chords 

(cf.  Ex.  19). 

Crescendo  and  diminuendo. 

Short  crescendi  and  diminuendi  are  generally  produced  by  na- 
tural dynamic  means;  when  prolonged,  they  are  obtained  by  this 
method  combined  with  other  orchestral  devices.  After  the  strings, 
the  brass  is  the  group  most  facile  in  producing  dynamic  shades 
of  expression,  glorifying  crescendo  chords  into  the  most  brilliant 
sforzando  climaxes.  Clarinets  specialise  in  diminuendo  effects  and 
are  capable  of  decreasing  their  tone  to  a  breath  (morendo).  Pro- 
longed orchestral  crescendi  are  obtained  by  the  gradual  addition 
of  other  instruments  in  the  following  order:  strings,  wood-wind, 
brass.  Diminuendo  effects  are  accomplished  by  the  elimination 
of  the  instruments  in  the  reverse  order  (brass,  wood-wind,  strings). 
The  scope  of  this  work  does  not  lend  itself  to  the  quotation  of 
prolonged  crescendo  and  diminuendo  passages.  The  reader  is  re- 
ferred, therefore,  to  the  full  scores: 

*  Sheherazade,  pp.  5—7,  92—96,  192—200. 

*  Antar 


51 


The  Christmas  Night 
Sadko 


183 


165-166 


*The  Tsar's  Bride    so-si 


Many   examples   of   shorter  crescendi   and   diminuendi  will  be 
found  in  Vol.  II. 


—     113    - 

Diverging  and  converging  progressions. 

In  the  majority  of  cases,  diverging  and  converging  progressions 
simply  consist  in  the  gradual  ascent  of  the  three  upper  parts,  with 
the  bass  descending.  The  distance  separating  the  bass  from  the 
other  parts  is  trifhng  at  first,  and  grows  by  degrees.  On  the  other 
hand,  in  converging  progressions,  the  three  upper  parts,  at  first  so 
far  distant  from  the  bass,  gradually  approach  it.  Sometimes  these 
progressions  involve  an  increase  or  a  decrease  in  tone.  The 
intermediate  intervals  are  filled  up  by  the  introduction  of  fresh 
parts  as  the  distance  widens,  so  that  the  upper  parts  become 
doubled  or  trebled.  In  converging  progressions  the  tripled  and 
doubled  parts  are  simplified,  as  the  duplicating  instruments  cease 
to  play.  Moreover,  if  the  harmony  allows  it,  the  group  in  the 
middle  region  which  remains  stationary  is  the  group  to  be  retained, 
or  else  the  sustained  note  which  guarantees  unity  in  the  operation. 
Below,  the  reader  will  find  double  examples  of  both  descriptions. 
The  first  pair  represents  a  diverging  progression,  1.  piano,  in  which 
the  human  voice  takes  part;  2.  a  purely  orchestral  crescendo.  The 
second  depicts  two  similar  diverging  progressions,  firstly  a  gradual 
crescendo,  secondly  dim.,  during  which  the  strings  become  more 
and  more  divided  as  the  wind  instruments  cease  to  play.  Ex.  258. 
accompanies  the  apparition  of  Mlada,  Ex.  259,  its  disappearance. 
The  atmosphere  and  colouring  are  weird  and  fanciful.  The  third 
pair  of  examples  forms  instances  of  converging  progressions.  In 
the  first  (Ex.  260)  Princess  Volkhova  relates  the  wonders  of  the 
sea.  Then  in  the  middle  of  a  powerful  orchestral  crescendo  the 
Sea-King  appears  (Ex.  261).  Both  examples  include  a  sustained 
stationary  chord  of  the  diminished  seventh.  The  handling  of  such 
progressions  requires  the  greatest  care. 

Examples: 
No.  256—257.     The  Tsar's  Bride  [T02]  and  [Tot]. 
No.  258—259.     Mlada,  Act  III  [12]  and  [To]. 


No.  260—261.    Sadko    105   and 


119 


Sadko  [72j  (cf.  Ex.  112). 
before  |315  . 


—     114    — 

*The  Christmas  Night,  beginning  (cf.  Ex.  106). 
*No.  262.    Antar,  end  of  3:^  movement. 

Note.    A  sustained  note  between  the  diverging  parts  does  not 
always  allow  the  empty  space  to  be  more  complety  filled  up. 

Example: 
No.  263.    The  Golden  Cockerel,  before  [Toe]. 


Tone  quality  as  a  harmonic  force. 

ilarmonic  basis. 

Melodic  design  comprising  notes  foreign  to  the  harmony,  passing 
or  grace  notes,  embellishments  etc.,  does  not  permit  that  a  florid 
outline  should  proceed  at  the  same  time  with  another  one,  reduced 
to  essential  and  fundamental  notes: 

Melodic  design. 


* 


Fundamental  notes. 


m 


^^ 


m 


^^ 


If,  in  the  above  example,  the  upper  part  is  transposed  an  octave 
lower,  the  discordant  effect  produced  by  the  contact  of  appogia- 
turas  and  fundamental  notes  will  be  diminished;  the  quicker  the 
passage  is  played  the  less  harsh  the  effect  will  be,  and  vice  versa. 
But  it  would  be  ill-advised  to  lay  down  any  hard  and  fast  rule  as 
to  the  permissible  length  of  these  notes.  There  is  no  doubt  that 
the  harmonic  notes,  the  thirds  of  the  fundamental  one  (E)  are 
more  prominent  from  their  proximity  with  the  notes  extraneous 
to  the  harmony.  If  the  number  of  parts  is  increased  (for  instance, 
if  the  melodic  figure  is  in  thirds,  sixths  etc.),  the  question  becomes 
still  more  complicated,  since,  to  the  original  harmonic  scheme, 
chords  with  different  root  bases  are  added,  producing  false  relation. 

Nevertheless,  for  the  solution  of  such  problems,  orchestration 
provides  an  element  of  the  greatest  importance:  difference  of 
timbres.  The  greater  the  dissimilarity  in  timbre  between  the  har- 
monic basis  on  the  one  hand  and  the  melodic  design  on  the 
other,   the   less  discordant  the  notes  extraneous   to  the  harmony 


—     115     — 

will  sound.  The  best  examjJle  of  this  is  to  be  found  between  the 
human  voice  and  the  orchestra,  next  comes  the  difference  of 
timbres  between  the  groups  of  strings,  wood-wind,  plucked  strings 
and  percussion  instruments.  Less  important  differences  occur 
between  wood-wind  and  brass;  in  thes6  two  groups,  therefore,  the 
harmonic  basis  generally  remains  an  octave  removed  from  the 
melodic  design,  and  should  be  of  inferior  dynamic  power. 

Examples  of  harmonic  basis  in  chords: 

No.  264.    Pan  Voyevoda,  Introduction. 

Legend  of  Kitesh,  Introduction  (cf.  also  Ex.  125  and  140). 

*Mlada,  Act  111 


10 


The  harmonic  basis  may  be  ornamental  in  character,  in  which 
case  it  should  move  independently  of  the  concurrent  melodic  design. 


Examples: 
*No.  265— 266.     Tsar  Saltan  [103-104 1,  [m\,  \m], 


162-165 


(of.  below). 

Chords  the  most  widely  opposed  in  character  may  be  used  on 
a  simple,  stationary  harmonic  basis,  a  basis,  founded,  for  example, 
on  the  chord  of  ihe  tonic  or  diminished  sevenih. 

Examples : 


No.  267.  Legend  of  Kitesh  326-328  —  Wood-wind  and  harps 
on  a  string  basis. 

No.  268-269.    Kashtche'i  the  Immortal  [ss],  [43]. 

No.  270.    Mlada,  Act  II,  before  Q?],  [is]'  0- 

No.  271.  The  Golden  Cockerel  [T25]  —  Chords  of  the  diminished 
seventh,  on  arpeggio  basis  (augmented  fifth). 

The  effect  of  alternating  harmony  produced  between  two  me- 
lodic figures,  e.  g.  one  transmitting  a  note,  held  in  abeyance,  to 
the  other,  or  the  simultaneous  progression  of  a  figure  in  augmen- 
tation and  diminution  etc.  becomes  comprehensible  and  pleasant 
to  the  ear  when  the  fundamental  si^  i    iied  harmony  is  different. 

8* 


34 

» 

36 

> 

297 

-    116    — 

Examples: 

(cf.  Ex.  34  and  231). 


147—148 


Legend  of  Kitesh 

No.  272—274.    Tsar  Saltan  [m],  1 162-165 1  (cf.  also 

*  Russian  Easter  Fetey  before  pv]. 

The  whole  question  as  to  what  is  allowed  and  what  forbidden 
in  the  employment  of  notes  extraneous  to  the  harmony  is  one  of 
the  most  difficuU  in  the  whole  range  of  composition;  the  per- 
missible length  of  such  notes  is  in  no  way  established.  In  ab- 
sence of  artistic  feeling,  the  composer  who  relies  entirely  on  the 
difference  between  two  timbres  will  often  find  himself  using  the 
most  painful  discords.  Innovations  in  this  direction  in  the  latest 
post-Wagnerian  music  are  often  very  questionable;  they  depress 
the  ear  and  deaden  the  musical  senses,  leading  to  the  unnatural 
conclusion  that  what  is  good,  taken  separately,  must  necessarily 
be  good  in  combination. 

Artificial  effects. 

I  apply  this  name  to  some  orchestral  operations  which  are  based 
on  certain  defects  of  hearing  and  faculty  of  perception.  Having 
no  wish  to  specify  those  that  already  exist  or  to  foretell  those  which 
may  yet  be  invented,  I  will  mention,  in  passing,  a  few  which  have 
been  used  by  me  in  my  own  works.  To  this  class  belong 
glissando  scales  or  arpeggios  in  the  harp,  the  notes  of  which  do 
not  correspond  with  those  played  simultaneously  by  other  instru- 
ments, but  which  are  used  from  the  fact  that  long  glissandi  are 
more  resonant  and  brilliant  than  short  ones. 


Snegourotchka 


325 


Examples  : 
(cf.  Ex.  95). 


No.  275.    Pan  Voyevoda 

*  Shihirazade,  3i^  movement 

*  Russian  Easter  Fete 


128 


M 


,  51lLbar  (cf.  Ex.  248). 


(cf.  Ex.  248). 


Enharmonic  glissando  in  the  strings  should  also  be  mentioned. 


No.  276.   The  Christmas  Night  [Tso],  131Iibar  —  'Cellos  glissando 


—     117    — 

Use  of  percussion  instruments  for  rhythrii 
and  colour. 

Whenever  some  portion  of  the  orchestra  executes  a  rhythmic 
figure,  percussion  instruments  should  always  be  employed  concurrently. 
An  insignificant  and  playful  rhythm  is  suitable  to  the  triangle,  tambourine, 
castanets  and  side  drum,  a  vigourous  and  straightforward  rhythm 
may  be  given  to  the  bass  drum,  cymbals  and  gong.  The  strokes 
on  these  instruments  should  almost  invariably  correspond  to  the 
strong  beats  of  the  bar,  highly-accented  syncopated  notes  or  disconnec- 
ted sforzandi.  The  triangle,  side  drum  and  tambourine  are  capable  of 
various  rhythmic  figures.  Sometimes  the  percussion  is  used  sepa- 
rately, independently  of  any  other  group  of  instruments. 

The  brass  and  wood-wind  are  the  two  groups  which  combine  the 
most  satisfactorily  with  percussion  from  the  standpoint  of  colour. 
The  triangle,  side  drum,  and  tambourine  go  best  with  harmony  in 
the  upper  register;  cymbals,  bass  drum  and  gong  with  harmony  in  the 
lower.  The  following  are  the  combinations  most  generally  employed: 
tremolo  on  the  triangle  and  tambourine  with  trills  in  wood-wind  and 
violins;  tremolo  on  the  side  drum,  or  cymbals  struck  with  drum 
sticks,  and  sustained  chords  on  trumpets  and  horns;  tremolo  on  the 
bass  drum  or  the  gong  with  chords  on  trombones  or  low  sustained 
notes  on  'cellos  and  double  basses.  It  must  not  be  forgotten  that 
the  bass  drum,  cymbals,  gong  and  a  tremolo  on  the  side  drum, 
played  fortissimo,  is  sufficient  to  overpower  any  orchestral  tutti. 

*The  reader  will  find  instances  of  the  use  of  percussion  instruments 
in  any  full  score,  and  in  several  examples  of  the  present  work. 

Examples: 
*  Sheherazade  pp.  107 — 119,  also  many  passages  in  4'^  movement: 
Antar  [40],   [43]  (cf.  Ex.  73,  29). 


*  Spanish  capriccio  [p]  (cf.  Ex.  64);  the  cadences  to  be  studied 
in  the  4^  movement,  where  they  are  accompanied  by  various  per- 
cussion instruments. 

*  Russian  Easter  Fete  [k]  (cf.  Ex.  217). 
"  The  Tsar's  Bride[m\. 


Legend  of  Kitesh  1 96- 197   —  "The  Battle  of  Kerj^metz". 


Pan  Voyevoda  7i    72 


118 


Economy  in  orchestral  colour. 

Neither  musical  feeling  nor  the  ear  itself  can  stand,  for  long, 
the  full  resources  of  the  orchestra  combined  together.  The 
favourite  group  of  instruments  is  the  strings,  then  follow  in  order 
the  wood-wind,  brass,  kettle-drums,  harps,  pizzicato  effects,  and  lastly 
the  percussion,  also,  in  point  of  order,  triangle,  cymbals,  big  drum, 
side  drum,  tambourine,  gong.  Further  removed  stand  the  celesta, 
glockenspiel  and  xylophone,  which  instruments,  though  melodic, 
are  too  characteristic  in  timbre  to  be  employed  over  frequently. 
The  same  may  be  said  of  the  piano  and  castanets.  A  quantity  of 
national  instruments  not  included  in  the  present  work  may  be 
incorporated  into  the  orchestra;  such  are  the  guitar,  the  domra, 
zither,  mandoline,  the  oriental  tambourine,  small  tambourine  etc. 
These  instruments  are  employed  from  time  to  time  for  descriptive- 
aesthetic  purposes. 

These  instruments  are  most  frequently  used  in  the  above-named 
order.  A  group  of  instruments  which  has  been  silent  for  some 
time  gains  fresh  interest  upon  its  reappearance.  The  trombones, 
trumpets  and  tuba  are  occasionally  tacet  for  long  periods,  the 
percussion  is  seldom  employed,  and  practically  never  all  together, 
but  in  single  instruments  or  in  two's  and  three's.  In  national 
dances  or  music  in  ballad  style,  percussion  instruments  may  be 
used  more  freely. 

After  a  long  rest  the  re-entry  of  the  horns,  trombones  and  tuba 
should  coincide  with  some  characteristic  intensity  of  tone,  either 
pp  or  //;  piano  and  forte  re-entries  are  less  successful,  while  re- 
introducing these  instruments  mezzo-forte  or  mezzo-piano  produces 
a  colourless  and  common-place  effect.  This  remark  is  capable 
of  wider  application.  For  the  same  reasons  it  is  not  good  to 
commence  or  finish  any  piece  of  music  either  mf  or  mp.  The 
scope  of  the  musical  examples  in  this  work  does  not  permit  of 
illustrating  by  quotation  the  use  of  economy  in  orchestral  colour, 
nor  the  re-entry  of  instruments  thrown  into  prominence  by  prolonged 
rests.    The  reader  must  examine  these  questions  in  full  scores. 


I 

i 


Chapter  V. 


COMBINATION  OF  THE  HUMAN  VOICE  WITH  ORCHESTRA. 
THE  STAGE  BAND. 


Orchestral  accompaniment  of  solo  voices. 

General  remarks. 

In  accompanying  the  voice  orchestral  scoring  should  be  light 
enough  for  the  singer  to  make  free  use  of  all  the  dynamic  shades 
of  expression  without  hardness  of  tone.  In  overflowing  lyrical 
moments,  where  full  voice  is  required,  the  singer  should  be  well 
supported  by  the  orchestra. 

Opera  singing  may  be  divided  into  two  general  classes,  lyric 
singing  and  declamation  or  recitative.  The  full,  round,  legato  aria 
affords  greater  facility  for  tone  production  than  florid  music  or 
recitative,  and  the  more  movement  and  rhythmic  detail  contained 
in  the  vocal  part,  the  greater  freedom  and  liberty  must  there  be 
given  to  the  voice.  In  such  a  case  the  latter  should  not  be 
doubled  by  the  orchestra,  neither  should  rhythmical  figures  be  written 
for  any  instrument  corresponding  with  those  in  the  vocal  part.  In 
accompanying  the  voice  the  composer  should  bear  these  points  in 
mind  before  turning  his  attention  to  the  choice  of  orchestral  colour. 
A  confused,  heavy  accompaniment  will  overpower  the  singer;  an 
accompaniment  which  is  too  simple  in  character  will  lack  interest, 
and  one  which  is  too  weak  will  not  sustain  the  voice  sufficiently. 

In  modern  opera  it  is  rare  that  orchestral  writing  is  confined 
to  accompaniment  pure  and  simple.  It  frequently  happens  that  the 
principal  musical  idea,  often  complex  in  character,  is  contained 
in  the  orchestra.  Th?  voice  may  then  be  said  to  form  the  accom- 
paniment,  exchanging  musical   for  literary  interest.     It  becomes 


—     120     — 

subordinate  to  the  orchestra,  as  though  it  were  an  extra  part^ 
subsequently  added  as  an  after-thought.  But  it  is  evident  that  great 
care  must  be  taken  with  orchestral  writing  in  such  cases.  The 
scoring  must  not  be  so  heavy  or  complicated  as  to  drown  the 
voice  and  prevent  the  words  from  being  heard,  thereby  breaking 
the  thread  of  the  text,  and  leaving  the  musical  imagery  unexplained, 
Certain  moments  may  require  great  volume  of  orchestral  tone,  so 
great  that  a  voice  of  even  phenomenal  power  is  incapable  of 
being  heard.  Even  if  the  singer  is  audible,  such  unequal  struggles 
between  voice  and  orchestra  are  most  inartistic,  and  the  composer 
should  reserve  his  orchestral  outbursts  for  the  intervals  during 
which  the  voice  is  silent,  distributing  the  singer's  phrases  and 
pauses  in  a  free  and  natural  manner,  according  to  the  sense  of 
the  words.  If  a  prolonged  forte  passage  occurs  in  the  orchestra 
it  may  be  used  concurrently  with  action  on  the  stage.  All  artificial 
reduction  of  tone  contrary  to  the  true  feeling  of  a  passage,  the  sole 
object  being  to  allow  the  voice  to  come  through,  should  be  strictly 
avoided,  as  it  deprives  orchestral  writing  of  its  distinctive  brilliance. 
It  must  also  be  remembered  that  too  great  a  disparity  in  volume 
of  tone  between  purely  orchestral  passages  and  those  which 
accompany  the  voice  create  an  inartistic  comparison.  Therefore, 
when  the  orchestra  is  strengthened  by  the  use  of  wood-wind  in 
three's  or  four's,  and  brass  in  large  numbers,  the  division  of  tone 
and  colour  must  be  manipulated  skillfully  and  with  the  greatest  care. 
In  previous  sections  I  have  frequently  stated  that  the  structure 
of  the  orchestra  is  closely  related  to  the  music  itself.  The  scoring 
of  a  vocal  work  proves  this  relationship  in  a  striking  mnaner,  and, 
indeed,  it  may  be  stipulated  that  only  that  which  is  well  written 
can  be  well  orchestrated. 

Transparence  of  accompaniment.     Harmony. 

The  group  of  strings  is  the  most  transparent  medium  and  the 
one  least  likely  to  overpower  the  voice.  Then  come  the  wood- 
wind and  the  brass,  the  latter  in  the  following  order:  horns,  trom- 
bones, trumpets.  A  combination  of  strings,  pizz.,  and  the  harp 
forms  a  setting  eminently  favourable  for  the  voice.  As  a  general 
rule  a  singer  is  more  easily  overpowered  by  long  sustained  notes 
than  by  short  detached  ones.    Strings  doubled  in  the  wood-wmd 


—     121     — 

and  brass,  and  brass  doubled  by  wood-wind  are  combinations 
liable  to  drown  the  singer.  This  may  be  done  even  more  easily 
by  tremolando  in  the  kettle-drums  and  other  percussion  instruments, 
which,  even  by  themselves  are  capable  of  overpowering  any  other 
orchestral  group  of  instruments.  Doubling  of  wood-wind  and 
horns,  and  the  use  of  two  clarinets,  two  oboes  or  two  horns  in 
unison  to  form  one  harmonic  part  is  likewise  to  be  avoided, 
as  such  combinations  will  have  a  similar  effect  on  the  voice.  The 
frequent  use  of  long  sustained  notes  in  the  double  basses  is  another 
course  unfavourable  to  the  singer;  these  notes  in  combination 
with  the  human  voice  produce  a  peculiar  throbbing  effect. 

Juxtaposition  of  strings  and  wood-wind  which  overweights  legato 
or  declamatory  singing  may  nevertheless  be  employed  if  one  of 
the  groups  forms  the  harmony  in  sustained  notes  and  the  other 
executes  a  melodic  design,,  when,  for  instance  the  sustaining 
instruments  are  clarinet,  and  bassoon,  or  bassoon  and  horn,  and  the 
melodic  design  is  entrusted  to  violins  or  violas  —  or  in  the  opposite 
case,  when  the  harmony  is  given  to  violas  and  'cellos  divisi,  and 
the  harmonic  figure  to  the  clarinets. 

Sustained  harmony  in  the  register  of  the  second  octave  to  the 
middle  of  the  third  does  not  overpower  women's  voices,  as  these 
develop  outside  this  range;  neither  is  it  too  heavy  for  men's 
voices,  which  although  opening  out  within  the  range  itself  sound 
an  octave  higher,  as  in  the  case  of  the  tenor  voice.  As  a  rule 
women's  voices  suffer  more  than  men's  when  they  come  in  contact 
with  harmony  in  a  register  similar  to  their  own.  Taken  separately, 
and  used  in  moderation,  each  group  of  orchestral  instruments  may 
be  considered  favourable  to  each  type  of  voice.  But  the  combination 
of  two  or  three  groups  cannot  be  so  considered  unless  they  each 
play  an  independent  part  and  are  not  united  together  at  full  strength. 
Incessant  four-part  harmony  is  to  be  deprecated.  Satisfactory  results 
will  be  obtained  when  the  number  of  harmonic  parts  is  gradually 
decreased,  with  some  of  them  sustaining  pedal,  notes,  and  when 
the  harmony,  interspersed  with  necessary  pauses  is  confined  to 
the  limits  of  one  octave,  distributed  over  several  octaves,  or  dupli- 
cated in  the  higher  register. 

These  manipulations  allow  the  composer  to  come  to  the  singer's 
aid;  in  voice-modulations,  when  the  singer  passes  from  the  can- 


—     122 


tabile  to  the  declamatory  style,  the  composer  may  reduce  or 
eliminate  some  harmony  which  is  found  to  be  too  heavy  as  the 
vocal  tone  diminishes,  and  conversely,  support  the  voice  by  a 
fuller  orchestral  tone  in  broad  phrases  and  climaxes. 

Ornamental  writing  and  polyphonic  accompaniment  should  never 
be  too  intricate  in  character,  entailing  the  use  of  an  unnecessary 
number  of  instruments.  Some  complicated  figures  are  better  partially 
entrusted  to  pizz.  strings  and  harp,  as  this  combination  has  little 
chance  of  overpowering  the  voice.  Some  examples  of  accompanying 
an  aria  are  given  below. 

Examples: 

The  Tsar's  Bride,  Lykow's  supplementary  Aria  (Act  III). 

Griasnov's  Aria. 


16—19 


No.  277.   Snegoiirotchka 
*  Snegourotchka 


45 


187—188 


212—213 


the  two  Cavatinas  of  Tsar 


Berendey  (cf.  extracts,  Ex.  102,  225). 


No.  278.  Sadko  143 


204-206 


*  Legend  of  Kitesh  [39-41 

*  The  Golden  Cockerel 


The  Venetian's  Song. 

222-2231   (cf.  Ex.  31). 


153-157 


163 


Florid  singing  which  limits  volume  of  tone  requires  a  light 
accompaniment,  simple  in  outline  and  colour,  involving  no  dupli- 
cation of  instruments. 

'Examples: 

-  Snegourotchka' s  Aria  (Prologue), 


No.  279.  Snegourotchka 
Fragment. 
"Sadko 


42-48 


195—197 


—  Hindoo  Song  (cf.  Ex.  122). 
—  Oxana's  Aria. 


45-50 


*  The  Christmas  Night 

*  The  Golden  Cockerel  |i3i— 136|  —  Aria  of  Queen  Shemakha. 


Doubling  voices  in  the  orchestra. 

Melodic  doubling  of  voices  by  orchestral  instruments  (in  unison 
or  octaves)  is  of  frequent  occurrence,  but  incessant  duplication  for 
an  extended  period  of  time  should  be  avoided;  it  is  only  per- 
missible in   isolated   phrases.     The   most  natural   duplication   in 


—    123    — 

unison  of  womens'  voices  is  performed  by  violins,  violas,  clarinets 
and  oboes;  that  of  mens'  voices  by  violas,  'cellos,  bassoons  and 
horns.  Doubling  in  octaves  is  usually  done  in  the  upper  register. 
Trombones  and  trumpets  overpower  the  voice  and  cannot  be  used 
for  this  purpose.  Uninterrupted  or  too  frequent  duplication  should 
be  avoided,  not  only  because  the  operation  deprives  the  singer  of 
full  freedom  of  expression,  but  also  because  it  replaces  by  a 
mixed  timbre  the  rare  characteristic  qualities  of  the  human  voice. 
Doubling,  when  limited  to  a  few  special  phrases  supports  the 
voice  and  endows  it  with  beauty  and  colour.  It  is  only  suitable 
ki  tempo;  to  apply  it,  in  unison  or  octaves  to  a  passage  ad.  lib. 
is  both  ineffective  and  dangerous. 

Examples: 


Snegourotchka  50—52  —  Snegourotchka's  Arietta  (cf.  Ex.  41). 


Sadko  1^09— 3ii\  —  Volkhova's  Cradle-song  (cf.  Ex.  81). 


Besides  the  question  of  doubling  the  voice  for  the  object  of 
colour  there  are  instances  when  the  singer  executes  only  part  of 
a  phrase,  allotted  in  its  entirely  to  an  orchestral  instrument. 

Example: 
Vera  Scheloga  [so],  [aa]  (cf.  Ex.  49). 


Lyrical  climaxes,  a  plena  voce,  or  dramatic  passages  for  the 
voice  situated  outside  its  normal  range  should  be  supported  melo- 
dically  and  harmonically  by  the  orchestra,  in  the  register  in  which 
the  voice  is  placed.  The  culminating  point  in  such  passages 
often  coincides  with  the  entry  or  sudden  attack  of  the  trombones 
or  other  brass  instruments,  or  by  a  rush  of  strings.  Strengthening 
the  accompaniment  in  this  manner  will  soften  the  tone  of  the  voice 

Examples : 

No.  280.    The  Tsar's  Bride  [206]. 
Servilia  [126-127 


232  . 


No.  281.    Sadko  [314 
Vera  Scheloga  [^Tj. 


—     124    — 

If  the  culminating  point  is  soft  in  colour  and  outline  it  is  better 
left  unsupported  in  the  orchestra,  but  sometimes  the  wood-wind, 
sustaining  such  passages  with  light  transparent  melody  or  harmony 
may  produce  an  entrancing  effect. 

Examples: 
Snegourotchka  [Tss], 

[sis]  (cf.  Ex.  119). 
No.  282.     The  Tsar's  Bride  \2u]. 

It  is  a  common  practice  to  support  voices  in  concerted  numbers 
by  harmony  and  duplication;  this  operation  makes  for  accuracy 
and  brilliance  when  applied  to  duets,  trios,  quartets  etc. 

Examples: 
Snegourotchka  [^92^293]  —  Duet  (cf.  Ex.  118). 


Sadko   99-101    —  Duet  (cf.  Ex.  289  and  290). 

sextet. 


No.  283.     The  Tsar's  Bride 


169 


117 


quartet. 


Legend  of  Kitesh  [341]  —  quartet  and  sextet  (cf.  Ex.  305). 

The  beautiful  effect  produced  by  a  solo  instrument  accompanying 
a  cantabile  aria  cannot  be  denied.  In  such  cases  the  instruments 
used  are  generally  the  violin,  viola,  and  'cello,  or  the  flute,  oboe, 
Eng.  horn,  clar.,  bass  clar.,  bassoon,  horn  and  harp.  The  accom- 
paniment is  often  contrapuntal  or  composed  of  polyphonic  designs. 
The  solo  instrument  either  plays  alone  or  as  the  leading  melodic 
voice  in  the  ensemble.  In  combination  with  the  voice,  or  asso- 
ciated with  some  action  on  the  stage,  a  solo  instrument  is  a 
powerful  expedient  for  musical  characterisation.  Instances  of  this 
description  are  numerous. 

Examples : 


Snegourotchka  [50j  —  Soprano  and  oboe  (cf.  Ex.  41). 
„  ~97J  —  Contralto  and  Eng.  horn. 

"243],  [245]  —  Baritone  and  bass  clar.  (cf. Ex. 47— 48)- 


No. 


284.     The  Tsar's  Bride  [Tos]  —  Soprano,  'cello  and  oboe. 


The  Golden  Cockerel   163    —  Soprano  and  viola  (cf.  Ex.  226). 


—     125    — 

It  is  comparetively  rare  for  percussion  instruments  to  take  part 
in  accompanying  the  voice.  The  triangle  is  occasionally  used,  the 
cymbals  less  frequently.  An  accompaniment  may  be  formed  by  a 
figure  or  a  tremolo  on  the  kettle-drums. 

Examples: 

Snegourolchka  [97],  [224),  [^  (Lell's  m  and  3il  songs). 
Tsar  Saltan,  before  [?]. 


161 

> 

197 

*No  285.     The  Golden  Cockerel  \iS5j;  cf.  also 

The  following  are  examples  of  powerful  and  expressive  orches- 
tral passages,  the  voice  tacet: 

No.  286.    The  Tsar's  Bride  fill. 
*  Legend  of  Kitesh 


282 


298 


*Servilia  [iao]. 

Recitative  and  declamation. 

The  accompaniment  of  recitative  and  melodic  declamatory  phrases 
should  be  light  enough  to  allow  the  voice  to  come  through  without 
strain,  and  the  words  to  be  heard  distinctly.  The  most  convenient 
method  is  to  employ  sustained  chords  and  tremolo  on  the  strings 
or  wood-wind,  giving  free  latitude  to  the  voice  from  a  rhythmic 
point  of  view  (a  piacere). 

Another  excellent  plan  is  to  write  short  chords  in  the  strings 
combined  with  wood-wind  in  different  ways.  Sustained  chords 
and  those  entailing  change  of  position  should  occur  preferably 
when  the  voice  is  silent,  thus  permitting  both  conductor  and  or- 
chestra to  keep  a  closer  watch  over  the  singer's  irregularities  of 
rhythm  in  a  piacere  recitatives.  If  the  accompaniment  is  more 
complex  in  character,  melodic,  polyphonic  or  ornamental  in  design, 
the  recitative  must  be  sung  in  tempo.  Any  phrase  which  it  is 
necessary  to  emphasise  in  accordance  with  the  sense  of  the  words 
assumes  a  more  cantabile  character,  and  must  be  re-inforced  by  the 
orchestra.  Opera,  today,  besides  demanding  much  greater  care 
in  the  treatment  of  the  text  than  in  the  past,  abounds  in  constant 
transition  from  declamation  to  cantabile,  or  in  the  fusion  of  the 
two.    The  orchestra  offers  more  variety  of  texture  and  must  be 


—     126    — 


handled  with  greater  regard  to  its  relationship  to  the  words,  and 
the  action  on  the  stage.  This  tlass  of  orchestration  can  only  be 
studied  from  lengthy  examples.  I  refer  the  reader  to  operatic  full 
scores  and  content  myself  with  giving  one  or  short  instances: 

Examples: 


16 


No.  287.    Snegourotchka 
No.  288.    The  Tsar's  Bride 


124—125 


The  following  double  examples,  similar  from  a  musical  point 
a  vieW;  show  different  methods  of  handling  an  orchestra  from  the 
standpoint  of  accompaniment  to  the  voice,  and  the  tutti  form. 

Examples: 
No.  289—29 1 .   Sadko  |99— ioi|  and  1 305-307 1  (compare  also  Ex.  75). 


Vera  Scheloga  |3-7|  and 


28 


Care  should  be  taken  not  to  score  too  heavily  when  accom- 
panying singers  in  the  wings. 


Examples: 


*No.  292.    Sadko 


316 


318 


320 


*  Legend  of  Kitesh   286-289  ,    304   305  . 


Orchestral  accompaniment  of  the  chorus. 

The  chorus,  possessing  much  greater  unity  and  power  than  the 
solo  voice,  does  not  demand  such  careful  handling  in  the  accom- 
paniment. On  the  contrary,  too  great  a  refinement  of  orchestral 
treatment  will  prove  harmful  to  the  resonance  of  the  chorus.  As 
a  general  rule  orchestration  of  choral  works  follows  the  rules  laid 
down  for  purely  instrumental  scoring.  It  is  obvious  that  dynamic 
marks  of  expression  must  correspond  in  both  bodies,  but  doubling 
one  orchestral  group  with  another  and  coupling  instruments  of 
the  same  kind  in  unison  (2  Ob.,  2  CI.,  4  Horns,  3  Trombones  etc.) 
are  both  possible  operations,  if  performed  according  to  the  re- 
quirements of  the  musical  context.  Doubling  choral  parts  by  in- 
struments is  generally  a  good  plan.    In  cantabile  passages  such 


—    127    — 

duplication  may  be  melodic  in   character,  and  the  design  more 
ornamental  in  the  orchestra  than  in  the  chorus. 


Examples: 
Ivan  the  Terrible,  Act  II  |3-6|;  Act  III  1 66-69 


The  May  Night,  Act  I  [x^y];  Act  III  [I-Ee 


Ddd— Ft! 


Snegourotchka  [6i-73j,  1 147-153 
Mlada,  Act  II 


323-328 


22-3T],   [45-63 1 ;  Act  IV 


31-36 


The  Christmas  Night  1 59-61 

SadkO     1 37-39  I,     1 50-53  I,     [79—86 


115—123 


173 


177 


187 


189 


218—221 


233 


270—273 


The  Tsar's  Bride 
Tsar  Saltan 


29—30 


40-42 


50-59 


141 


67—71 


91—93 


133—145 


207—208 


Legend  of  Kitesh    167 


177-178 


The  Golden  Cockerel 


237-238 


262-264 


The  reader  will  find  instances  of  choral  accompaniment  in 
many  examples  relating  to  other  sections  of  the  work. 

In  the  case  of  solitary  exclamations  or  phrases  in  recitative, 
melodic  doubling  is  not  always  suitable.  It  is  better  to  support 
the  voice  simply  by  harmonic  duplication. 

The  repetition  of  notes  —  required  by  declamation  —  forming  no 
fundamental  part  of  the  rhythmical  structure  of  a  phrase  or  chord 
should  not  be  reproduced  in  the  orchestra;  the  melodic  or  har- 
monic basis  alone  should  be  doubled.  Sometimes  the  rhythmical 
structure  of  a  choral  phrase  is  simplified  in  comparison  with  its 
orchestral  duplication. 

Examples  : 

No.  293.     The  Tsar's  Bride  [96], 

No.  294.     Ivan  the  Terrible,  Act  I,  before  [ts]. 

Choral  passages,  the  musical  context  of  which  is  complete  in 
itself,  forming  a  chorus  a  capella  often  remains  undoubled  by  the 
orchestra,  accompanied  solely  by  sustained  notes  or  an  indepen- 
dent polyphonic  figure. 


—     128    — 


No.  295.     Sadko  [219]. 
*  Tsar  Saltan 


207 


*  Legend  of  Kttesh    167 


Examples: 


(cf.  Ex.  116). 


The  Golden  Cockerel 


236 


Heavier  scoring  is  required  for  a  mixed  chorus;  for  a  male 
voice  chorus  the  orchestration  should  be  lighter;  still  more  so  for 
women's  voices  alone.  In  scoring  a  certain  passage  the  composer 
should  not  lose  sight  of  the  number  of  choristers  he  is  employing, 
for  scenic  conditions  may  necessitate  a  reduction  of  that  figure. 
The  approximate  number  should  be  marked  in  the  full  score  as 
a  basis  upon  which  to  work. 


No.  296. 
*  Sadko 


Examples: 
Ivan  the  Terrible,  Act  II 


37 


17 

> 

20 

*  Legend  of  Kitesh  [ET]  (cf.  Ex.  198). 


Note,  It  must  also  be  remembered  that  a  ff  passage  on  an  enlarged 
orchestra,  comprising  wood-wind  in  fours,  and  numerous  brass  (sometimes 
in  three's),  is  capable  of  overpowering  a  large  mixed  chorus. 

A  chorus  in  the  wings  requires  as  light  an  accompaniment  as 
that  employed  for  a  solo  singer  on  the  stage. 


Examples . 


25—26 


*  Ivan  the  Terrible,  Act  I 

*  The  May  Night,  Act  I,  before 

*  No.  297.  Sadko  [T02]. 


90 


Act  III 


13—14 


;  Act  III 


Bbb— Ccc 


*  Legend  of  Kitesh  [54-56 1  (cf.  Ex.  196  and  197). 


Solo  voice  with  chorus. 

When  an  aria  or  recitative  is  coupled  with  the  chorus  great 
care  must  be  taken  in  the  choral  writing.  A  woman's  solo  voice 
stands  out  well  against  a  male  voice  chorus,  likewise  a  solo  male 
voice  against  a  women's  chorus,  for  in  both  cases,  the  (imbre  of 
the  solo  voice  differs  from  the  rest    But  the  combination  of  solo 


—     129    — 

voice  and  chorus,  of  the  same  timbre,  or  mixed  chorus,  creates 
a  certain  amount  of  difficulty.  In  such  cases  the  soloist  should 
sing  in  a  higher  register  than  the  chorus,  the  former  a  plena  voce, 
the  latter  piano.  The  soloist  should  stand  as  near  to  the  footlights 
as  possible;  the  chorus  up-stage.  The  orchestration  should  be 
adapted  to  the  soloist,  not  (o  the  chorus. 

Examples  : 
No.  298.  Snegourotchka  " 


143 


Ivan  the  Terrible.    Act  II  [st]  (cf.  Ex.  296). 

When  the  chorus  sings  in  the  wings  the  soloist  is  always  heard 

distinctly. 

Examples : 

Ivan  the  Terrible,  Act  I 
*  The  May  Night,  Act  III 
*Sadko  [T02], 


25—26 


Ccc 


111 


Instruments  on  the  stage  and  in  the  wings. 

The  use  of  instruments  on  the  stage  or  in  the  wings  dates  from 
distant  times  (Mozart,  Don  Giovanni,  string  orchestra  in  Act  I, 
finale).  In  the  middle  of  last  century  orchestras  of  brass  instruments, 
or  brass  and  wood-wind  combined,  made  their  appearance  on  the 
stage  (Glinka,  Meyerbeer,  Gounod  and  others).  More  modern 
composers  have  abandoned  this  clumsy  practice,  not  only  unfor- 
tunate from  the  spectators'  point  of  view,  but  also  detrimental  to 
the  mediaeval  or  legendary  setting  of  the  majority  of  operas.  Only 
those  stage  instruments  are  now  used  which  suit  the  scene  and 
surroundings  in  which  the  opera  is  laid.  As  regards  instruments 
in  the  wings,  invisible  to  the  audience,  the  question  is  simple. 
Nevertheless,  for  the  musician  of  today  the  choice  of  these  instru- 
ments must  be  regulated  by  aesthetic  considerations  of  greater 
importance  than  those  governing  the  selection  of  a  military  band. 
The  instruments  are  played  in  the  wings,  those  visible  on  the  stage 
are  only  for  ornament.  Sometimes  stage-instruments  may  be  replicas 
of  those  common  to  the  period  which  the  opera  represents,  (the 

sacred  horns  in  Mlada,  for  example).  The  orchestral  accompaniment 

9 


—     130    — 


must  vary  in  power  according  to  the  characteristics  of  the  instru- 
ments played  in  the  wings.  It  is  impossible  to  illustrate  the  use 
of  all  the  instruments  mentioned  below,  and  to  outline  suitable 
accompaniments.  I  can  only  give  a  few  examples  and  refer  the 
reader  once  again  to  the  passages  in  the  full  scores. 

a)  Trumpets: 
Servilia 


12 


25 


*  Legend  of  Kitesh 
*Tsar  Saltan 


53 


55  . 


60 


139 


and  further  on. 


b)  Horns,  in  the  form  of  hunting  horns: 
Pan  Voyevoda 


38—39 


c)  Trombones,  leaving  the  orchestra  to  go  on  the  stage; 

Pan  Voyevoda  |i9i|. 

d)  Cornets: 

Ivan  the  Terrible,  Act  III  [T],  [T]. 

e)  Sacred  horns  (natural  brass  instruments  in  various  keys): 
Mlada,  Act  II,  pp.  179  onwards. 

f)  Small  clarinets  and  piccolos: 


No.  299— 300.  Mlada,  Act  III 


37 


g)  Pipes  of  Pan:  instruments,  specially  made,  with   many  holes 
which  are  passed  over  the  lips.    These  particular  pipes  pro- 
duce a  special  enharmonic  scale  {B  flat,  C,  D  flat,  E  flat,  E,  F 
sharp,  G,  A),  which  has  the  effect  of  a  glissando: 
Mlada,  Act  III  \m\,  [43]  (cf.  Ex.  300). 

h)  Harp,  reproducing  the  effect  of  an  aeolian  harp: 

Kashtchei  the  Immortal  [32]  and  further  on  (cf.  Ex.  268,  269). 

i)  Lyres.    Instruments  specially  made  and  tuned  so  as  to  be  able 
to  perform  a  glissando  chord  of  the  diminished  seventh: 
Mlada,  Act  III  [39], 


43 


(cf.  Ex.  300). 


k)  Pianoforte,  grand  or  upright: 
Mozart  and  Salieri 


22—23 


1)   Gong,  imitathig  a  church  bell: 


Ivan  the  Terrible,  Act  I   67    and  farther  on. 


—     131     — 
m)  Bass  Drum  (without  cymbals)  to  imitate  the  sound  of  camion: 


Tsar  Saltan 


139 


and  later. 

n)  Small  kettle-drum,  in  D  flat  (3iil  octave): 
Mlada,  Act  III  [41]  and  later  (cf.  Ex.  60). 

0)  Bells  in  various  keys: 


139 


Sadko  [T28]  and 
No.  301.    Legend  of  Kitesh  [78?]  and  further  on.    See  also  [241], 
and  later. 


323 


*  Tsar  Saltan  [T39]  and  further  on. 

p)  Organ:  

No.  302.  Sadko  [^99-30o]. 

Wood-w^ind  and  strings  are  comparitively  seldom  used  on  the 
stage  or  in  the  wings.  In  Russian  opera  the  strings  are  employed 
in  this  way  by  Rubinstein  {GoriouchaJ^  and  in  a  splendidly  cha- 
racteristic manner  by  Serov  (Hostile  Power) :  in  the  latter  opera 
the  E  flat  clarinet  is  used  to  imitate  the  fife  in  the  Carnival 
procession.  (1) 


(1)  Mention  should  be  made  of  the  happy  use  of  a  small  orchestra  in  the 
wings  (2  pice,  2  cl.,  2  horns,  1  trombone,  tambourine,  4  Vni,  2  violas,  1  D-bass) 
in  The  May  Night,  Act  II,   Sc.  I.  IjVl-Pj.  (Editor's  note.) 


Chapter  VI  (Supplementary). 

VOICES. 


Technical  Terms. 

Among  all  the  confused  terms  employed  in  singing  to  denote 
the  compass,  register  and  character  of  the  human  voice,  there  are 
four  which  may  be  said  to  represent  elemental  types:  soprano, 
alto  or  contralto,  tenor  and  bass.  These  names  are  used  to  denote 
the  composition  of  the  chorus  with  sub-divisions  of  firsts  and 
secondSj  to  determine  how  the  parts  must  be  divided.  (Sopr.  I, 
Sopr.  II  etc.)  While  the  range  of  an  instrument  is  exactly  governed 
by  its  construction,  the  ^compass  of  the  voice,  on  the  other  hand, 
depends  on  the  individuality  of  the  singer.  It  is  therefore  im- 
possible to  define  the  exact  limits  of  each  of  these  vocal  types. 
When  it  is  a  question  of  dividing  choristers  into  I2I  and  2^  parts, 
those  with  the  higher  voices  are  classed  among  the  firsts  and 
vice  versa. 

Besides  the  principal  terms  mentioned  above,  the  names  mezzo- 
soprano  (between  sop.  and  alto),  and  baritone  (between  tenor  and 
bass)  are  also  employed. 

Note.  In  the  chorus  mezzo-sopranos  are  classed  with  2^  sopranos  or 
lii  altos,  baritones  with  211^  tenors  or  first  basses,  according  to  quality  and 
timbre  of  voice. 

Apart  from  these  denominations  which  represent  the  six  prin- 
cipal solo  voices,  a  quantity  of  others  are  in  use  to  denote  either 
compass,  timbre  or  technique,  such  as  hght  soprano,  soprano 
^iusto,  lyric  soprano,  dramatic  soprano,  light  tenor,  tenorino-altino, 
bary ton-martin,  lyric  tenor,  dramatic  tenor,  basso  cantante  ("singing 
bass"),  basso  profondo  (deep  bass)  etc.    To  this  lengthy  list  must 


-     133    — 

be  added  the  term  mezzo- car attere,  of  intermediate  character 
(between  lyric  and  dramatic  soprano,  for  example). 

If  we  try  to  discover  the  real  meaning  of  these  designations  it 
soon  becomes  apparent  that  they  are  derived  from  widely  different 
sources  —  for  instance,  "light  soprano"  implies  agility  and  mobility 
in  the  voice;  "dramatic  tenor",  the  power  to  express  strong  dra- 
matic feeling;  basso  profondo  signifies  great  resonance  in  the 
deep  register. 

Minute  examination  of  all  the  methods  of  attack  and  emission 
of  sound  lies  within  the  province  of  the  singing  master  and  to 
enumerate  them  here  would  only  perplex  the  student.  The  same 
applies  to  the  position  and  exact  limits  of  register  (chest  voice, 
middle  and  head  voice  in  women;  chest  voice,  mixed  voice  and 
falsetto  in  men).  The  work  of  a  teacher  of  singing  consists  in 
equalising  the  voice  throughout  its  whole  compass,  so  that  the 
transition  from  one  register  to  another,  on  all  the  vowels,  may  be 
accomplished  imperceptibly.  Some  voices  are  naturally  even  and 
flexible.  The  professor  of  singing  must  correct  faults  in  breathing, 
determine  the  range  of  the  voice  and  place  it,  equalise  its  tone, 
increase  its  flexibility,  instruct  as  to  the  pronunciation  of  vowels, 
modulation  from  one  grade  of  expression  to  another,  etc.  A  com- 
poser should  be  able  to  rely  upon  flexible  and  equal  voices 
without  having  to  trouble  himself  as  to  the  abilities  or  defects  of 
individual  singers.  In  these  days  a  part  is  seldom  written  for  a 
particular  artist,  and  composers  and  librettists  do  not  find  it  ne- 
cessary to  entrust  a  certain  role  to  fioriture  singers,  another  to 
heavy  dramatic  voices.  Poetic  and  artistic  considerations  demand 
greater  variety  of  resource  in  the  study  of  opera  or  vocal  music 
in  general. 

Soloists. 

Range  and  register. 

I  advise  the  composer  to  be  guided  by  Table  F.  which  gives 
the  approximate  range  of  the  six  principal  solo  voices.  A  bracket 
under  the  notes  defines  the  normal  octave,  the  register  in  which 
the  voice  is  generally  used.  Within  these  limits  the  composer 
may  write  freely  without  fear  of  hardening  or  tiring  the  voice. 


—     134     — 

The  normal  octave  applies  aJso  to  declamatory  singing  and  reci- 
tative; the  notes  above  it  are  exceptional  and  should  be  used  for 
the  culminating  points  of  a  passage  or  for  climaxes,  the  notes 
below,  for  the  fall  or  decline  of  a  melody.  Employing  voices  in 
unusual  registers  for  long  periods  of  time  will  weary  both  singer 
and  listener,  but  these  registers  may  occasionally  be  used  for 
brief  intervals  so  as  not  to  confine  the  voice  too  strictly  to  one 
octave.  A  few  examples  are  added  to  illustrate  melody  in  different 
types  of  voices. 

Examples: 
The  Tsar's  Bride  1 102- 109 1  (for  extracts  cf.  Ex.  256,  280,  284)  — 


Marfa's  Aria  (Soprano). 
I26— 18   —  Griaznov's  Aria  (Baritone). 


Snegomotchka  —  The  3  songs  of  Lell.  (Contralto). 

Sadko  [46^49]  (cf.  extract,  Ex.  120)  —  Sadko's  Aria  (Tenor). 

[T29-131I  —  Lioubava's  Aria  (Mezzo-sopr.). 

[191—193]  (cf.  extract,  Ex.  131)  —  Bass  Aria. 


Vocalisation. 

A  good  vocal  melody  should  contain  notes  of  at  least  three 
different  values,  minims,  crotchets  and  quavers  (or  crotchets, 
quavers  and  semiquavers  etc.).  Monotony  in  rhythmic  construction 
is  unsuited.  to  vocal  melody;  it  is  applicable  to  instrumental  music, 
but  only  in  certain  cases.  Cantabile-  melody  requires  a  fair 
number  of  long  notes,  and  a  change  of  syllable  in  a  word  should 
occur  at  a  moment  when  the  voice  quits  a  long  sustained  note. 
Short,  single  notes,  changing  wHh  every  syllable  produce  a  har- 
monious effect.  Owing  to  the  requirements  of  diction,  extended 
melodic  figures  sung  legato  on  one  syllable  must  be  used  with 
care  on  the  part  of  the  composer;  to  perform  these  the  singer 
must  possess  greater  command  ov^r  flexibility  and  technique. 
The  possibility  of  taking  breath  in  the  right  place  is  one  of  the 
conditions  essential  to  all  vocal  writing.  Breath  cannot  be  taken 
in  the  middle  of  a  word,  sometimes  not  even  during  the  course 
of  a  sentence  or  phrase  in  the  text;  hence  the  voice  part  must 
be  suitably  interspersed  with  rests. 


—     135    — 


Soprano. 
Contralto. 

Tenor. 
Bass. 


Table  F.   Voices. 
Chorus : 


except 


Soloists: 


Tenor. 


Baritone. 


•scept 


—     136    — 

Note.  It  must  be  remembered  that  there  are  some  words  upon  which  the 
voice  may  not  dwell,  or  sing  more  than  one  or  two  notes.  These  words  may 
be  nouns,  pronouns,  numerals,  prepositions,  conjunctions  and  other  parts  of 
speech.  It  would  be  impossible  and  ridiculous,  for  instance,  to  write  a 
sustained  note  on  such  words  as  "who",  "he"  etc.  The  voice  may  dwell  on 
certain  words  which,  so  to  speak,  possess  some  poetical  colour  (1). 

Examples: 
No.  303.     Sadko  [iae]  —  Sadko's  Aria  (Tenor). 


"      r^09-3ii]  (8ee  extract,  Ex. 81).  Volkhova's Cradle 
Song  (Soprano). 
Snegourotchka   [V]  —  Fairy  Spring's  Aria  (Mezzo-sopr.). 

(see  extracts,  Ex.  102  and  225) 


187—188 


212—213 


—  the  two  Cavatinas  of  Tsar  Berendey  (Tenor). 
[247]  —  Miskir's  Aria  (Baritone). 


Vowels. 

As  regards  vocalisation  on  one  syllable,  on  long  sustained  notes 
and  in  the  high  register,  the  choice  of  vowels  is  a  matter  of  some 
importance.  The  difference  in  the  position  of  the  mouth  and  lips 
in  forming  the  open  vowel  a  and  the  closed  vowel  ou  is  apparent 
to  everyone.  The  series  of  vowels  from  the  point  of  view  of  open 
sounds  is:  a,  i,  o,  e,  u.  In  women's  voices  the  easiest  vowel  on 
high  notes  is  a,  for  men  it  is  o.  The  vowel  i  softens  the  pene- 
trating quality  of  the  top  notes  of  a  bass  voice,  and  the  vowel  a 
adds  to  the  extension  of  range  in  the  very  lowest  compass.  Lengthy 
florid  passages  are  often  written  on  the  interjection  ah,  or  simply 

(1)  Here  the  author  approaches  a  question  so  well  known  to  the  Russians 
that  it  does  not  require  any  further  elucidation  for  their  guidance.  But  a  whole 
book  would  have  to  be  written  to  form  a  compendium  of  practical  rules 
on  this  subject,  and  to  point  out  the  errors  which  nearly  all  French  composers 
openly  commit  —  even  those  who  are  famous  for  their  sense  of  diction  and  literary 
style.  We  can  only  conclude  that  the  question  has  come  to  be  considered 
of  minor  importance  in  France,  perhaps  on  account  of  the  lack  of  definite 
stress  on  the  syllables  of  words,  which  is  characteristic  of  the  French  language. 
It  is  not  within  the  translator's  province  to  discuss  the  question  of  French 
versification  or  to  elaborate  the  excellent  maxims  laid  down  by  Rimsky-Kor- 
sakov,  the  first,  among  many,  to  touch  upon  this  delicate  and  important  subject. 

(Translator's  note.) 


—    137 


on  the  vowel  a.  Owing  to  the  restrictions  imposed  by  literary 
and  dramatic  laws,  the  composer  can  only  follow  the  above  rules 
to  a  limited  extent. 

Examples: 

Snegourotchka  [293],  |318-319|  (cf.  Ex.  119). 
No.  304.    Sadko  [83]. 

Flexibility. 

Voices  possess  the  greatest  amount  of  flexibility  in  their  normal 
octave.  Women's  voices  are  more  supple  than  men's,  but  in  all 
types,  the  higher  voice  is  the  more  agile,  sopranos  in  women,  the 
tenor  voice  in  men.  Although  capable  6f  performing  florid  and 
complicated  figures,  different  varieties  of  phrasing  and  the  rapid 
change  from  staccato  to  legato,  the  human  voice  is  infinitely  less 
flexible  than  a  musical  instrument.  In  passages  of  any  rapidity, 
diatonic  scales  and  arpeggios  in  thirds  come  easiest  to  the  voice. 
Intervals  bigger  than  fourths  in  quick  succession  and  chromatic 
scales  are  extremely  difficult  Skips  of  an  octave  or  more  starting 
from  a  short  note  should  always  be  avoided.  Preparation  should 
precede  any  extremely  high  note  either  by  leading  up  to  it  gradually, 
or  by  the  clear  leap  of  a  fourth,  fifth  or  octave;  but  sometimes 
the  voice  may  attack  a  high  note  without  any  due  preparation. 


Snegourotchka 


46—48 


Examples: 
(cf.  extract,  Ex.  279)  —  Snegourotchka's 


96—97 


Aria  (Soprano). 

Lell's  first  song  (Contralto). 


Sadko 


196—193 


203—206 


Pan  Voyevoda   20—26 


(cf.  extract,  Ex.  122)  —  Hindoo  song  (Tenor). 
—  Venetian  song  (Baritone). 

Maria's  cradle  song  (Sopr). 


Colour  and  character  of  voices. 

The  colouring  of  the  voice,  whether  it  be  brilliant  or  dull,  sombre 
or  sonorous  depends  upon  the  individual  singer,  and  the  composer 
has  no  need  to  consider  it.  The  chief  question  is  interpretation 
and  may  be  solved  by  the  judicious  choice  of  artists.    From  the 


—    138    — 

point  of  view  of  flexibility  and  expression  voices  may  be  divided 
into  two  classes,  lyric  and  dramatic.  The  latter  is  more  powerful 
and  of  greater  range,  the  former  possesses  more  suppleness  and 
elasticity  and  is  more  readily  disposed  to  different  shades  of  ex- 
pression. Granted  that  the  rare  combination  of  the  two  classes  is 
the  composer's  ideal,  he  should  nevertheless  be  content  to  follow 
the  main  artistic  purpose  which  he  has  set  out  the  achieve.  In 
complicated  and  important  works  the  composer  should  bear  in 
mind  the  characteristic^  of  the  various  voices  he  employs;  more- 
over, if  he  use  two  voices  of  the  same  calibre,  e.  g.  2  Sopranos 
or  2  Tenors,  he  should  discriminate  between  the  range  and  register 
of  their  respective  parts,  writing  for  one  slightly  higher  than  the 
other.  It  is  no  rare  occurence  to  meet  with  voices  of  an  inter- 
mediate character  (mezzo-carattere)  combining  the  qualities  of 
each  type  to  a  modified  extent.  To  such  voices  the  composer 
may  assign  roles  demanding  the  characteristics  of  each  class, 
especially  secondary  roles.  At  the  present  day,  besides  the  roles 
suitable  to  the  dramatic  and  lyric  type  of  voice,  it  is  customary 
to  give  prominence  to  those  demanding  some  special  qualifications, 
voices  of  a  certain  tenderness  or  power,  a  specified  range  or  degree 
of  flexibility  —  attributes  decided  by  the  artistic  object  in  view.  In 
casting  secondary  and  minor  roles  the  composer  is  advised  to 
employ  a  medium  range  and  less  exacting  demands  on  technique. 

Note.  After  Meyerbeer,  who  was  the  first  to  write  for  a  special  type  of 
heavy  mezzo-soprano  and  baritone,  Richard  Wagoner  created  a  type  of  powerful 
dramatic  soprano,  of  extensive  rang^e,  combining^  the  quality  and  scope  of  the 
soprano  and  mezzo-soprano  voices;  likewise  a  similar  type  of  tenor,  possessing 
the  attributes  and  compass  of  the  tenor  and  baritone  together.  To  demand 
that  voices  shall  be  equally  brilliant  and  resonant  in  the  high  and  low  register, 
that  singers  shall  be  endowed  with  a  super-poweriul  breathing  apparatus  and 
an  extraordinary  faculty  for  resistance  tO  fatigue  (Siegfried,  Parsifal,  Tristan, 
Briinhilda,  Kundry,  Isolda),  is  to  exact  something  little  short  of  the  miraculous. 
Such  voices  are  to  be  found,  but  there  are  some  singers  with  excellent  though 
not  phenominal  vocal  powers,  who,  by  the  constant  pursuit  of  Wagnerian  parts 
endeavour  to  increase  their  range  and  volume,  and  only  succeed  in  depriving 
the  voice  of  correct  intonation,  beauty  of  tone,  and  all  subtlety  of  nuances. 
I  believe  that  less  exacting  demands  and  greater  perception  of  what  is  re- 
quired, skilful  and  judicious  use  of  the  high  and  low  registers  of  the  voice,  a 
proper  understanding  of  cantabile  writing  combined  with  orchestration  which 
never  overpowers  the  vocal  part  will  be  of  greater  service  to  the  composer, 
from  an  artistic  point  of  view,  than  the  more  elaborate  methods  of  Richard 
Wagner. 


139    — 


Voices  in  combination. 

Treating  solo  voices  in  a  polyphonico-harmonic  manner  is  the 
best  method  of  preserving  their  individual  character  in  ensembles. 
A  distribution  which  is  wholly  harmonic  or  entirely  polyphonic  is 
seldom  found.  The  first  plan,  largely  used  in  choral  writing, 
simplifies  the  movement  of  the  voices  too  greatly,  eliminating  their 
melodic  character;  the  second  method  is  wearisome  and  somewhat 
disturbing  to  the  ear. 

As  a  general  rule  the  voices  are  arranged  according  to  the  law 
of  normal  register.  Crossing  of  parts  is  rare  and  should  only  be 
done  with  the  intention  of  emphasising  the  melody  in  the  ascending 
voices  above  those  adjacent  in  register,  e.  g.  the  tenor  part  above 
contralto,  the  mezzo-soprano  above  the  soprano,  etc. 

Duet. 

The  combinations  most  conducive  to  the  proper  movement  of  parts 
are  those  of  two  voices  related  within  an  octave  8  [?°P^-,  ^^^'^^'•,  gat"** 
Movement  in  tenths,  sixths,  thirds  or  octaves  (the  last  very  seldom) 
will  always  produce  satisfactory  ensemble,  and  if  the  parts  progress 
polyphonically,  it  need  not  happen  frequently  that  they  are 
separated  by  more  than  a  tenth,  or  that  undesirable  crossing  of 
parts  will  result. 

Examples  : 


Sadko   99-101    —  Sopr.  and  Tenor  (cf.  Ex.  289,  290). 


Servilla    143  —  Sopr.  and  Tenor. 


Ivan  the  Terrible,  Act  I  48—50  —  Sopr.  and  Tenor. 


Kashtchei  the  Immortal  62—64  .  Mezzo-sopr.  and  Baritone. 

Bass. 


Voices  related  in  fifths  and  fourths,  5  [I^p^Iq,  4  [j^^^'',  5  [[«"• 


should  progress  nearer  to  one  another;  it  is  rare  for  them  to  move 
in  tenths,  common  in  sixths  and  thirds;  they  may  also  proceed  in 
unison.  The  two  voices  are  seldom  separated  at  a  greater  distance 
than  ah  octave,  and  certain  cases  will  require  crossing  of  parts, 
which,  however,  should  only  be  for  periods  of  short  duration. 


—     140    — 

Examples  : 
Snegourotchka    263—264    —  Soprano  and  Alto. 


The  Christmas  Night 
Legend  of  Kitesh 


78—80 


Alto  and  Tenor. 


338 


Tenor  and  Bass. 


Voices  related  in  thirds; 


^  rSopr.         M.-sopr,    Ten.     Bar. 
"^LM.-sopr. '  C.-alto    'Bass'  Bass' 

may  move  in  unison,  in  thirds  and  sixths,  and  admit  very  largely 
of  the  crossing  of  parts.  Separation  by  more  than  an  octave  must 
only  be  momentary,  and  is  generally  to  be  avoided. 

Examples  : 
*  The  Tsar's  Bride  [T74]  —  Sopr.  and  Mezzo-sopr. 


*  Tsar  Saltan    5—6   —  Sopr.  and  Mezzo-sopr. 


In  the  case  of  voices  related  in  twelfths :  12  [l^^s ,  intervals  approach- 
ing one  another  do  not  create  a  good  effect,  for  this  transplants  the 
deeper  voice  into  the  upper  register  and  vice  versa.  Singing  in 
unison  is  no  longer  possible,  and  thirds  are  to  be  avoided;  the 
use  of  sixths,  tenths  and  thirteenths  is  recommended.  The  voices 
will  often  be  separated  by  more  than  a  twelfth  and  crossing  of 
parts  is  out  of  the  question. 

Example  : 
*  Tsar  Saltan  1 254— 255 1 


Relationship  in  tenths  10  [|^P'-  or  ^^^^^'  is  fairly  common.  The 
explanations  given  above  are  also  applicable  in  this  case. 


Example  : 


Snegourotchka  291-300   (cf.  extract,  Ex.  118)  Sopr.  and  Bar. 


The  use  of  similar  voices  in  pairs:  g^PJ* ,  !fg[['  entails  singing  in 
unison  and  thirds.  They  should  rarely  be  separated  beyond  a  sixth, 
but  crossing  of  parts  is  inevitable,  as  otherwise  the  resultant  volume 
of  tone  would  be  too  weak. 


—     141     — 

Note.    Other  possible  combinations:  ^'^f^^ f  TeJf°'"^'»  ca"  *or  no  special 

remarks. 

Examples: 

•  The  May  Night,  Act  I  pp.  59—64  —  Mezzo-sopr.  and  Tenor. 

*Sadko 


322—324 


Mezzo-sopr.  and  Tenor. 


As  a  general  rule,  writing  for  two  voices  is  only  successful  when 
the  progression  of  parts  is  clear,  when  discords  are  prepared  by 
a  common  note,  or  are  the  outcome  of  conveniently  separated 
movement  and  correctly  resolved.  Emply  intervals  of  fourths  and 
perfect  fifths,  elevenths  and  twelfths  should  be  avoided  on  the  strong 
beats  of  a  bar,  especially  on  notes  of  some  value.  If,  however, 
one  of  the  voices  assumes  a  melodic  character,  the  other  forming 
the  harmonic  accompaniment  in  declamatory  style,  it  is  not  ab- 
solutely necessary  to  avoid  the  intervals  mentioned  above. 

Note.  It  is  not  within  the  scope  of  the  present  work  to  consider  the  writing: 
of  vocal  parts  in  closer  detail.  This  question  must  be  left  to  the  professor 
of  free  counterpoint.  It  remains  to  be  noted  that  the  human  voice  accom- 
panied by  the  orchestra  is  always  heard  independently  as  something  apart, 
something:  complete  in  itself.  For  this  reason  a  composer  may  never  rely 
on  the  orchestra  to  fill  up  an  empty  space  or  correct  a  fault  in  the  handling 
of  voices.  All  the  rules  of  harmony  and  counterpoint,  down  to  the  last  detail, 
must  be  applied  to  vocal  writing,  which  is  never  dependent  upon  orchestral 
accompaniment. 

Trios,  quartets  etc 

All  that  has  been  said  regarding  the  relationship  of  voices  in 
duet  applies  with  equal  force  to  the  combination  of  three,  four, 
five  or  more  voices.  An  ensemble  of  several  voices  is  seldom 
purely  polyphonic;  as  a  rule,  although  some  parts  move  polyphoni- 
cally,  progression  in  thirds,  sixths,  tenths  and  thirteenths  is  used 
for  the  remainder.  Declamation  for  some  voices  on  notes  forming 
the  harmony  is  also  possible.  This  variety  of  simultaneous  move- 
ment of  vocal  parts  renders  the  comprehension  of  the  total  effect 
less  difficult  for  the  ear,  and  sanctions  the  distribution  oT  distinctive 
and  suitable  figures  or  tone  colouring  to  certain  voices  with  other 
figures  'or  timbres  which  may  be  proceeding  at  the  same  time. 
The  skilful  arrangement  of  pauses  and  re-entries  facilitates  the 
understanding  of  the  whole,  and  gives  desirable  prominence  to 
detail. 


142 


Examples  : 
Snegourotchka  [267]  —  Trio,  Finale  to  Act  III. 


The  Tsar's  Bride    116— 118  —  Quartet  in  Act  II. 

Sextet  in  Act  III  (cf.  extract,  Ex.  283). 


168—171 


Servilia  \  149-152]  —  Quintet  in  Act  III. 


The   movement  of  solo  voices   is  seldonr  purely  harmonic  in 

character  with  predominance  given  to  the  upper  voices  homophoni- 

cally  treated.    The  blending  of  all  the  parts  into  an  harmonic  whole, 

without  any  distinctive  predominant  feature  in  any  one  part  (as  in 

a  chorale)  is  employed  for  songs  or  ensembles  in  traditional  style, 

prayers,   hymns,  etc.     If  this   method   is  adopted  for  the  quartet 
Sopr. 

of  voices,   yg°  ,  it  will  be  noted  that  widely-spaced  part  writing 

Bass 

is  the  most  natural  and  suitable  form  (especially  in  forte  passages), 
as  the  four  voices  can  sing  together  in  their  proper  registers 
(low,  middle  and  high),  while,  in  close  part  writing  they  may  find 
themselves  at  a  given  moment  in  registers,  which  are  entirely 
foreign.  But  both  methods  should  be  employed,  as,  otherwise, 
it  would  be  impossible  to  guarantee  equality  in  even  the  shortest 
succession  of  chords. 

Examples  : 


Snegourotchka    178  Hymn  of  Tsar  Berendey's  subjects. 


No.  305.   Legend  of  Kitesh 


341 


The  second  half  of  the  last  example  is  an  instance  of  six-part 
harmonic  writing;  the  upper  voice  stands  out  prominently,  the  rest 
form  a  kind  of  accompaniment. 

Chorus. 

Range  and  register. 

The  range  of  choral  voices  is  slightly  more  limited  than  that 
of  soloists.  The  exceptional  register  may  be  considered  as  two 
notes  above  and  below  the  normal  octave.  The  dotted  lines  extended 
still  further  indicate  the  limits  upon  which  a  composer  may  rely 
in  very  exceptional  cases,  as  every  full  chorus  must  contain  a  few 


—     143    — 

voices  of  more  than  average  compass,  in  this  respect  approaching 
the  solo  voice  in  character.  In  many  choruses  on&  or  two  bass 
singers  may  be  found  who  are  able  to  go  still  lower  than  the 
limit  of  the  exceptional  range  (they  are  called  octavists) .  (l) 

Note.  These  uncommonly  deep  notes  must  be  moderately  well  sustained  and 
can  only  be  used  when  the  whole  chorus  is  sing^in^  quite  piano;  they  are 
hardly  applicable  except  in  unaccompanied  choruses  (a  capella). 

The  difference  in  range  between  the  "firsts"  and  "seconds"  in 
each  type  may  be  fixed  as  follows:  the  normal  octave  and  the 
exceptionally  low  register  should  be  allotted  to  the  "seconds",  the 
same  octave  and  the  exceptionally  high  register  to  the  "firsts". 

The  composition  of  the  chorus  is  approximately  as  follows:  for 
a  full  chorus,  32  singers  to  each  of  the  4  parts  sopr.,  alt.,  ten.  and 
bass;  for  a  chorus  of  medium  size,  from  16  to  20,  and  for  a  small 
chorus  from  8  to  10  singers.  The  number  of  women  will  often 
predominate,  and  more  voices  are  given  to  the  "firsts"  than  to  the 
"seconds". 

On  account  of  stage  requirements  a  chorus  may  have  to  be 
divided  into  two  or  even  three  separate  parts.  This  is  a  great 
disadvantage,  especially  with  a  small  chorus,  as  each  chorister 
becomes  more  or  less  a  soloist. 

The  methods  of  writing  for  operatic  chorus  are  very  numerous. 
Besides  the  primary  harmonico-polyphonic  arrangement,  containing 
the  whole  musical  idea,  the  voices  may  be  made  to  enter  separately, 
singing  or  declaiming  phrases  of  varying  length;  they  may  progress 
in  unison  or  in  octaves;  one  vocal  part  may  repeat  certain  notes 
or  the  whole  chorus  reiterate  certain  chords;  one  melodic  part 
may  predominate  (the  upper  part  for  preference),  the  others  form- 
ing an  harmonic  accompaniment;  isolated  exclamatory  phrases 
may  be  given  to  the  whole  chorus  or  to  certain  portions  of  it, 
and  finally,  the  enUre  chorus  may  be  treated  in  a  purely  harmonic 
manner  in  chords,  with  the  essential,  melodic  design  allotted  to 
the  orchestra.  Having  outlined  the  principal  methods  of  handling 
the  chorus,  I  advise  the  reader  to  study  vocal  and  orchestral  scores 
where  he  will  find  many  illustrations  impossible  to  deal  with  here. 


(1)  Contrebasses  voices  as  they  are  called  when  mentioned  in  French  works 
are  peculiar  to  Russia,  in  which  country  they  are  plentiful. 

(Translator's  note.) 


—     144    — 

There  exists  another  most  important  operation,  the  division  of 
the  chorus  into  different  groups.  The  most  natural  method  is  to 
divide  it  into  men's  chorus  and  women's  chorus.  Less  frequent 
combinations  are  altos,  tenors  and  basses,  or  sopranos,  altos  and 
tenors.  There  remains  yet  another  point  to  be  considered,  the  sub- 
division of  each  part  into  two's  and  three's.  Men's  and  women's 
choruses,  considered  as  distinct  unities  may  alternate  either  one 
with  the  other,  or  with  the  principal  chorus.  For  this  reason  sub- 
division increases  the  possibilities  of  choral  writing,  and,  as  I  have 
already  remarked,  it  is  only  by  the  study  of  choral  works  that 
the  student  will  acquire  mastery  over  this  branch  of  composition, 
the  fundamental  principles  of  which  can  only  by  faintly  outlined 
in  the  course  of  the  present  work. 

Melody. 

Melody  is  more  limited  in  the  chorus  than  in  the  solo  voice, 
both  as  regards  range  as  well  as  mobility.  Choristers'  voices  are 
less  "settled"  and  not  so  highly  trained  as  those  of  soloists. 
Sometimes  solo  and  choral  melody  are  similar  in  point  of  range 
and  technique,  but  more  often  the  latter  is  lacking  in  freedom  and 
variety  of  rhythm,  restricted  as  it  is  to  the  repetition  of  short  phrases, 
while  the  solo  voice  demands  broader  melodic  outline  and  greater 
freedom  in  construction.  In  this  respect  choral  melody  more  closely 
resembles  instrumental  melody.  Pauses  for  taking  breath  are  not 
so  important  with  chorus  singers  as  with  soloists;  the  former  do 
not  need  to  breathe  all  together  and  each  singer  may  take  a  slight 
rest  from  time  to  time,  thus  obviating  the  necessity  for  sudden 
complete  silences.  The  question  of  suitable  vowels  is  likewise  of 
secondary  importance. 

The  change  from  notes  of  short  value  to  long,  vocalisation  on 
syllables  and  others  questions  mentioned  above  are  equally  applic- 
able to  choral  melody,  but  in  a  minor  degree.  Not  more  than 
two  or  three  notes  should  be  written  on  one  syllable  except  for 
fanciful  and  whimsical  effects. 

Example: 
No.  306.   The  Golden  Cockerel  [262];  see  also  before  [T23]. 


—     145    — 

A.  Mixed  chorus. 

Chorus  in  unison. 

The  simplest  and  most  natural  combination  of  voices  is  sopranos 
and  altos,  or  tenors  and  basses.  These  combinations  produce 
ample  and  vigourous  tone,  and  the  mixed  timbres  serve  to  give 
prominence  to  a  melody  in  the  upper  or  bass  parts.  In  practice 
the  other  voices  are  often  divided  to  thicken  the  harmony.  The 
combination  of  altos  and  tenors  produces  a  peculiar  mixed  tone 
quality,  somewhat  bizarre  and  seldom  used. 

Examples  : 


64 


Snegourotcfika 

Sadko  \m]  (cf.  Ex.  14). 

Progression  in  octaves. 

The  most  beautiful  and  natural  combinations  are  sopranos  and 
tenors  8  [fg^"^',  altos  and  basses  8  [sasses'  *^^y  produce  a  tone  both 
brilliant  and  powerful.  Progression  of  sopranos  and  altos,  or  tenors 
and  basses  is  seldom  practised.  Though  the  latter  combinations 
may  occur  in  choruses  for  women  and  men  alone,  they  can  only 
be  used  in  melodies  of  restricted  length.  The  difference  of  re- 
gister in  which  the  voices  move  does  not  permit  of  the  same 
balance  of  tone  obtained  by  voices  of  a  distinctive  kind. 

Examples  : 


Snegourotchka   60  ,  6i   —  Carnival  Procession. 

„  113  —  Wedding  Ce'-emony. 

Sadko  [^  —  Chorus  of  Guests,  151  Tableau. 

Dividing  kindred  voices  in  octaves  is  seldom  done,  8  [g^pj;  n  etc., 

except  perhaps  in  the  basses  «  [l^sles  IP  ^^®"  *^®  progression  of 
parts  demand  it,  or  it  is  required  to  double  the  bass  part  in  octaves. 

Examples: 
Ivan  the  Terrible,  Act  III  [68]  —  Final  chorus  (cf.  Ex.  312). 


Sadko   341   —  Final  chorus. 

10 


146     — 


A  beautifully  round  tone  results  from  doubling  men's  and  women  s 
voices  in  octaves  8 [fX+Bas«3. 


Snegourotchka 


323 


Example: 
Final  chorus. 


Brilliance  and  vigour  is  achieved  when  sopranos  and  altos  pro- 
gress In  thirds  doubled  in  octaves  by  tenors  and  basses  also  in 


thirds:  8 


Sopr,  "1^ 
Altos  r 
Ten.  I3 
-BassesJ 

Examples  : 


Mlada,  Act  I    24  ;  Act  II,  before 


31 


The  Golden  Cockerel 


235 


On  the  rare  occasions  when  the  whole  chorus  progresses  in 

double  octaves  the  usual  arrangement  is: 

Sopr.  +  Altos  "1  tj  «  rSopr. 

^  fTen.  J  **'   or  else   °  [Altos  +  Ten.     "I  „ 
[Basses  Basses  I    ' 

Examples : 
Snegourotchka  [31 9j. 
Sadko  [182]. 

Voices  fdioisi);  harmonic  use  of  the  mixed  chorus. 

The  purely  harmonic  progression  of  a  four-part  mixed  chorus 
is  more  natural  and  resonant  when  the  harmony  is  of  the  widely 
divided  order,  so  that  the  volume  of  tone  is  equally  distributed 
throughout. 

Example: 


No.  307.    Sadko    144  —  Beginning  of  3i^  tableau. 


To  secure  a  well-balanced  forte  chord  in  close  part  writing  the 
following  distribution  is  recommended: 


rSopr.  I 
LSopr.  II 
Altos 
[Ten.  I 
[Ten.  II 
rSasses  I 
[Basses  II. 


—     147    — 

Three  harmonic  parts  in  the  high  register  (2  sopranos  and  altos) 
are  doubled  an  octave  lower  by  2  tenors  and  the  \^  basses.  The 
lower  part  is  undertaken  by  the  2i^  basses.  In  this  manner  the 
tenors  sing  in  the  soprano  octave,  the  isl  basses  in  the  alto  octave 
and  the  2^  basses  are  independent. 

Examples  : 


Snegourotchka   327  —  End  of  the  work; 


Mlada,  Act  II    20  —  Procession  of  Princes. 


Ivan  the  Terrible,  Act  II  |_19J  (cf.  Ex.  212). 

Division  of  parts  can  be  adopted  when  one  of  them  is  entrusted 
with  a  melody,  the  remainder  forming  a  sufficiently  full  accom- 
paniment. The  choice  of  parts  to  be  divided  depends  upon  the 
range  of  the  upper  one.  When  a  harmonic-melodic  phrase  is 
repeated  in  different  keys  and  registers,  it  may  be  necessary  to 
distribute  the  parts  and  divide  them  in  another  manner,  so  as  to 
maintain  proper  choral  balance.  As  an  illustration  I  give  two 
extracts  of  identical  musical  context,  the  second  {F  major)  being 
a  third  higher  than  the  first  {D  major).  In  the  first  example  the 
altos  are  added  to  the  sopranos  to  strengthen  the  melody;  the 
tenors  and  basses  divisi  form  the  harmony.  In  the  second  example 
the  melody  being  a  third  higher  may  be  given  to  the  sopranos 
alone;  the  altos  therefore  take  part  in  the  harmony,  and  conse- 
quently the  lower  parts  are  divided  in  a  different  way. 

Examples: 


Sadko  1 173 1  and  [ittJ  (cf.  Ex.  205  and  206);  compare  also  the 
same  music  in  G  major  [Tso]. 


No.  309— 310.    Ivan  the  Terrible,  Act  I 


77 


Example  307  is  an  instance  of  widely-spaced  four-part  writing 
forming  the  harmonic  basis,  with  the  melodic  idea  in  the  orchestra. 
In  Example  308,  the  same  in  musical  context,  the  melodic  figure 
is  given  to  the  sopranos,  and  among  the  other  parts  which  form 
the  harmony  the  tenors  are  divided. 

Example  : 

No.  308.     Sadko  [T52]. 

10* 


—     148    — 

In  polyphonic  writing  exceeding  4  part  harmony  the  voices  should 
be  divided  so  as  to  obtain  the  necessary  number  of  actual  parts. 
One  part  may  be  divided  into  as  many  as  three  different  parts, 
3  sopranos,  3  altos  etc. 

Examples : 
No.  3 12.    Ivan  the  Terrible,  Act  III  [59]  —  Final  chorus. 
—  Final  chorus. 


Servilia 


233 


Mlada,  Act  IV  1 35-36 1  —  Final  chorus. 

In  fugato  writing  and  fugal  imitation  for  mixed  chorus  the 
distribution  is  generally  in  four  parts,  but  this  number  may  be 
increased  for  cumulative  effects  as  in  the  example  quoted.  In  such 
cases  the  composer  should  be  careful  as  to  the  arrangement  of 
the  final  chord,  the  summit  and  climax  of  the  passage.  After  the 
entry  of  the  last  of  the  voices  the  progression  0/  such  a  passage 
should  be  handled  with  a  view  to  the  tone  of  the  final  chord. 
The  treatment  should  be  such  that  concords  produced  by  divided 
voices  or  different  groups  of  voices  retain  their  full  valu6;  and 
if  the  final  chord  be  a  discord  its  effect  may  be  heightened  by 
means  of  crossing  of  parts.  The  reader  is  advised  to  examine 
carefully  the  progression  of  parts  leading  up  to  the  final  chord 
in  each  of  the  examples  given  above,  paying  special  attention  to 
the  distribution  of  these  final  chords.  Crossing  of  parts  must  not 
be  effected  at  random.  The  arrangement  of  choral  parts  follows 
the  natural  order  of  register  and  can  only  be  altered  for  short 
spaces  of  time  to  give  momentary  prominence  to  some  melodic 
or  declamatory  phrase. 

Examples: 

Ivan  the  Terrible,  Act  I  [79],  Act  II  \T\,  Act  III 


67 


B.  Men's  chorus  and  women's  chorus. 

In  writing  a  three-part  female  chorus  the  division  should  be  either 
Sopr    I         Sopr.  Ten.   I         Ten. 

Sopr.  11  or  Altos  I;  the  same  for  men:  Ten.  II  or  Bass  I.   The  choice 
Altos  Altos  II  Bass  Bass  II 

of  distribution  depends  upon  which  voice  is  to  predominate,  or  the 
register  in  which  the  group  is  to  be  placed.   The  manner  of  divid- 


—     149    — 

ing  the  parts  may  change,  one  following  the  other  at  will.    In 
four-part^ harmonic  writing  the  method  of  division  is  self-evident: 

Sopr.   I  Ten.  I 

Sopr.  II  Ten.  II 

Altos   I  Bass  I 

Altos  II  Bass  II 

To  give  prominence  to  a  melody  in  the  middle  part  in  three- 
part  harmony,  the  following  method  may  be  adopted: 

Sopr.   I  Ten.  I 

Sopr.  II  -f  Altos  I,  or  Ten.  II  +  Bass  I. 

Altos  II  Bass  II 

If,  in  three-part  writing,  the  melody  has  to  stand  out  in  the  upper 
part,  the  harmony  may  be  either  widely-divided  or  close. 


Examples: 


Ivan  the  Terrible,  Act  I 


25-26 


23-31 


(Women's  chorus). 


Sadko,  before  |i8il  —  Men's  chorus  (cf.  Ex.  27). 
No.  311.    Sadko  1 270-272 1  —  Women's  chorus. 


In  four-part  choral  writing  close  harmony  is  preferable,  other- 
wise the  upper  part  will  be  in  too  high  a  register  and  the  range 
of  the  bottom  part  too  low. 


Sadko 


17 


Examples: 
Male  chorus. 


Ivan  the  Terrible,  Act  II 


36—38 


Female  chorus  (cf.  Ex.  296). 


Distribution  in  two  parts  which  is  generally  polyphonic  does 
not  call  for  any  special  remarks;  the  same  may  be  said  of  chorus 
in  unison. 

Examples : 
—  Male  chorus. 


50 


Sadko 

Mlada,  beginning  of  Act  I 

Ivan  the  Terrible,  Act  III 

Servilia 


13—15 


26 


Female  chorus. 


If  male  and  female  choruses  are  Handled  in  a  purely  harmonic 
manner  close  part  writing  should  be  adopted.  This  is  the  only 
way  to  secure  proper  balance  of  tone  in  chords  given  to  voices 


—     150    — 

of  the  same  kind.  Successions  of  chords  in  three  parts  are  more 
frequent  than  those  in  four;  sometimes  a  series  of  chords  is 
practicable  only  in  two  parts. 


Snegourotcfika 


19 


281—285 


Examples: 

Chorus  of  Birds. 
—  Chorus  of  Flowers  (cf.  Ex.  26). 


In  fugato  writing,  and  fugal  imitation  in  three  parts,  allotted  to 
a  chorus  composed  of  voices  of  one  kind,  the  principal  subject  is 
given  to  two  parts,  the  counter  subject  to  one;  by  this  method 
the  doubled  themes  will  stand  out  to  better  advantage. 

Examples: 
Sadko  [20-21 


*The  Tsar's  Bride 


29—30 


Male  and  female  choruses,  apart  from  the  part  they  play  as 
individual  unities,  may  be  introduced  as  separate  groups  in  mixed 
choruses  alternating  with  the  whole  ensemble. 

Example: 


Snegourotchka  198  —  Hymn  of  Tsar  Berendey's  Subjects  (cf. 
Ex.  166). 

As  a  general  rule  a  female  chorus  does  not  contain  the  real 
harmonic  bass  part  when  this  part  is  situated  in  the  low 
register,  so  that  no  octaves  are  formed  between  the  real  bass 
and  the  lower  choral  voice.  Harmony  in  a  chorus  for  women  is 
generally  given  to  the  three  upper  parts,  the  lower  part  acting  as 
accompanying  bass.  It  will  be  noticed  that  this  rule  may  lead  to 
the  employment  of  chords  of  the  sixth  and  empty  consecutive 
fourth's  and  fifth's  which  should  be  avoided.    In  example  No.  311 


{Sadko  270),  this  is  remedied  by  the  high  position  of  the  bass 
part;  later  an  empty  interval  (i)  occurs,  but  only  for  a  moment, 
and  still  farther  on  another  such  interval  is  avoided  by  the  union 


of  all  the  voices  in  the  octave  (f).  In  Ex.  No.  304  {Sadko  [saj)  the 
harmonic  bass  in  the  low  register  is  carefully  omitted,  but  when 
transferred  to  the  upper  register  it  is  doubled. 


—     151     — 

I  conclude  the  present  chapter  with  the  following  necessary 
observations: 

1.  The  operation  of  dividing  voices  undoubtedly  weakens  their 
resonance,  and  as  the  reader  will  have  observed,  one  of  the  prin- 
cipal factors  in  good  orchestration  is  equal  balance  of  tone  in 
the  distribution  of  chords.  But  in  choral  writing  the  question  is 
somewhat  different.  The  orchestra,  even  after  repeated  rehearsal 
always  plays  from  music;  the  operatic  chorus,  on -the  other  hand, 
sings  by  heart.  The  chorus  master  can  carry  out  the  composer's 
instructions  as  to  the  division  of  parts  in  one  way  or  another, 
varying  and  adjusting  the  number  of  singers  to  each  part.  By 
manipulating  some  shade  of  expression  he  can  maintain  a  balance 
of  tone  between  divided  and  undivided  voices.  In  orchestral 
material  the  composer  has  to  handle  a  great  number  of  timbres, 
widely  different  in  character  and  volume  of  tone.  In  the  chorus 
there  are  but  four  qualities.  A  chorus  moving  about  the  stage 
cannot  convey  varying  shades  of  expression  so  exactly  as  an 
orchestra  seated  at  the  desk.  It  may  therefore  be  safely  assumed 
that  a  composer  is  entitled  to  some  licence  in  the  question  of 
dividing  choral  parts;  dealing  with  the  orchestra  involves  greater 
foresight  and  care. 

2.  In  trying  to  obtain  equal  balance  in  writing  three-part  choruses 
for  male  or  female  chorus  I  have  often  resorted  to  the  method  of 
doubling  the  middle  part  as  recommended  on  p.  149.  The  chorus 
master  is  at  liberty  to  equalise  the  chorus  by  transfering  voices 
from  one  part  to  another.  In  choruses  divided  into  three  parts 
I  have  noticed  that  chorus  masters  are  in  the  habit  of  giving  the 
upper  part  to  Sopr.  I,  or  Ten.  I,  and  the  two  lower  parts  to  Sopr.  II 
and  Ten.  II  divided.  I  consider  this  arrangement  unsound,  as  the 
balance  of  parts  can  never  be  equal.  The  attention  of  chorus 
masters  is  called  to  the  necessity  of  strengthening  middle  parts,  for 
the  expedient  of  giving  prominence  to  the  upper  part  concerns 
melody  alone  and  leaves  harmony  out  of  the  question. 

3.  Skilful  management  of  choral  parts  is  a  fairly  safe  guarantee 
of  clear  and  satisfactory  performance.  Miscalculations  in  writing 
are  a  great  hindrance  to  study,  and  the  most  experienced  chorus 
may  come  to  grief  through  faulty  progression  of  parts.  If  the 
progression  of  parts  is  correct,  if  discords  are  properly  prepared, 


—     152    — 

sudden  and  remote  modulations,  even  of  the  harshest  and  most 
uncommon  kind  will  be  comparatively  simple  and  may  be  ap- 
proached with  some  degree  of  confidence.  This  is  a  fact  which 
composers  do  not  always  bear  in  mind,  but  singers  know  it  well 
and  appreciate  its  importance  to  the  full.  As  an  instance  1  quote 
the  very  difficult  modulation  which  occurs  in  Ex.  No.  169  {Sadko 
).    I  doubt  whether  it  could  be  sung  if  written  in  any  other 


302 


way.    Careful  endeavour  on  the  part  of  a  composer  is  better  than 
useless  struggle  inflicted  upon  the  performer. 

July  3m  (Aug.  13!!i)  1  )05. 


PART  II 

EXAMPLES 


N?  1.  "Sheherazade/'  2^^  movement. 
N91.„Sheherazade,"  2"!^  mouvement. 

B       J)    144. 

^rtCi.(.A)  \^ ^  \^ — r^^       -^  J) 


Viol.         P  grazioso 
Il.div.   P'^i 


j/iiT  j"1 


<t     j  Hi- 


T^~r^ 


^ 


vie. 


^m 


^3 


^ 


^ 


^s 


^^ 


V-c.        J» 
e  C-b.  pizz. 


a^ 


^ 


Viol. 


#^^ 


^ 


^ 


^ 


^ 


J, 


Fl. 


^EEL^ 


m 


M 


i 


j^s^ 


m 


^F^- 


f^ 


Faff.  ±1 


m 


^ 


i 


i 


-s^ 


^ 


It  B  ^  » 


^="^ 


p 


* 


^^ 


i 


^^ 


^Viol. 


S 


JL-ir— p- 


>ces^ 


■  pp  ppi  r   p 


ph^ 


r  v-k-. 


jocco  piuf 


e 


* 


^ 


p^ 


t^l  y  y 


iB-"»  »;^ 


»i^ 


^s 


s 


^ 


^^ 


s 


I  arco  r*^ 
11/   V^c.    yj>^  ^ 


^2335 


S 


/>^ro  ptu-^- 


JT3 


^ 


i 


^ 


rin^ 


fW^ 


rri 


^^ 


^ 


~p — =^ 

C.{j  n  Isempre  pizz.  w^ 


S 


^ 


i^ 


3 


"^ 


inU^j  parte 


V-c.    i    jjjj 


C-b. 


S 


4^ 


^ 


ffi 


^ 


^ 


i-^I^^Jj^ 


=^^- 


^r 


-z=?:L::r:5=r 


y/  ly      —     .y  ^ 


^s 


:^SS 


?3E 


^ 


•?A 


s^ 


■'if 


■5/" 


■vr 


^7^^ 


4 


•if 


i 


N9  2.   ''The  Legend  of  the  invisible  city  of  Kitesh! 
N9  2.„Legende  de  la  ville  invisible  de  Kitej'/ 

Cl.(B^    *'-  ^^■ 
I. 


\\\\\\\\  JnJ'.^f 


-chdes  vers  mo», 


me  pour  un   ca  -   res-sant  sa  -  lut, 

^^f. -ff^^ 


N?3.    "Spanish  Cwpriccio/' 
N?  3.  „Capriccio  Espagnol!' 

Jail  ^j)  J-^    i'  i       ^ 


i  r%  J.- -i 


8      N94.    "Pan  Voyevoda." 
N9  4.  „  Pan  le  Voievodet' 
fl45]    Lento.  J:58. 


N?5.    ''The  Golden  Cockerel: 
N9  5.  „Le  Coq   d'Or." 

jl93lAndantino.  J.=  96. 
J  vie. 


N?6.     "Sadko,"  symphonic  tableau   (p.  2{ij. 
N9  6.  „Sadko',' tableau  symphonique  (p. 28), 

Allegretto.  J.138. 

/   ClAB) 


10 


Fl  a2 


N?^.    '^Pan  Voyevoda,"  nocturne 
N9  7.  „  Pan  le  Voievode,"  nocturne. 
Lento.  J:  58. 

c;  lA) 


.I.U.III 


rz 


N?8.    "Snegourotchka.' 
N9  8.„Sniegourotchka'.' 

Andante  maestoso  e  pass^ionato.  Jrsa. 

Fl.         a2_ 


N?9.    "Snegourotchka:' 

N*?  9.  „Sniegourotchka'.' 


N9 10.  "The  Legend  of  the  i7ivisible  city  of  Kitesh': 

N?  10.  „Legende  de  la  ville  invisible  de  Kitej." 

t^    J-66 

Ob.  -^*'- 


15 


PP 

Lapparition 


C'wniprendsbien.  o   bel-le         fi  -an-ceei  et     at-tachea  mespro-pos  leiirpoids. 

tran. 


^    N?  11.  ''The  Golden  Cockerel: 

N9  11.,,  Le  Coq  d'Or." 

11201  (alia  breve.  J=5o) 


1®        N9  12.  ^^Sheherazade,"  S'K!^  movement  (commencement). 
N<?  12.„Sheherazade'/3"Q^  mouvement  (debut). 
Andantino  quasi  allegretto.  J=  52. 

Viol.  le  II  unis. 


sulG 


J^JJJTJJ 


J-  ^il 


f  p  ■>  1 
pp 


.  JJ  J  I A 


^ 


K"  r  p » ■' 


SI 


3et 


^ 


■^ 


/»oc(3  cresc. 


N?  13,  ''The  Golden  Cockerel"  (p.  87). 
N9  13.  mLc   Coq  d' Or  "(p.  87). 
(Andantino.  J =88.) 


17 


k 


Do'ii^a'^'^       -         chu   de     nous  rap-])or    -         -     terdes  chants. 


ve .         V 1   - 


2  Fl.e  Fl.picc 


20      2  Fl.  e  Fl.picc 


I    ,,<         I   ^  j'^ 


I  f    V   J   ^^ 


V-le> 


^    J^TP/tf:   "The  Golden  Cockerel''  (p.  as). 
N9l6.,,Le  Coq  d'Or"(p.88;. 
(Andantino.  J  =  88.) 

Ob. 


N?  17.   ''Snegourotchka/' 
N?  17.  „  Sniegourotchka ." 

12881    Andante.  J.  69. 

2  Fi.e  Fl.  pice. 


21 


*^J 


22 


t 


4Ccr. 


^ 


^    p  ^LU 


/      Timp, 


I 


Campanelli. 


i 


^ 


■^iifgrf 


Arpa. 


!^ 


^^^ 


Viol.Ie  II  unis. 


^3 


Ob. 


^ 


^ 


^E£ 


Cingl. 


^ 


^ 


^ 


r        L-££f 


'^ 


Faff. 


^ 


ii 


4  Cor. 


»       B      « 


^^ 


/    Timp. 


Camjpanelli. 


24 


,'  A^Cor. 


I 


Tim  p. 


^^^ — rr 


f 


Cainpaiielli 


^ 


fe 


N?  18.  ''The  May  Night/'  Act  III. 
N9  18.,,  La  Nuit  de  Mai','   3'^^  acte. 

L     '^Allegretio  quasi  andantinoj 

C.ing-l. 


Z^ 


Noschantsvontoharmerlejeunehom-rae,  nos   ri  -  resfbntftiirleneil- 


JT]  s)  U^    ";)  j\s^  Ig  ^J)J)  J)  J  U' i^ 


Viol.  I. 


Nousai-  nionsje-ge  -    res   om  -     bres.  ajou- ersousuiiciel  e- toi  -  le 


^ 


yc.soio. 


m 


^ 


s 


m 


^  r}  J 


J.    ^vj^ 


Altri  V-c. 


m 


m 


C-b. 


m 


m 


V  r   » 


y  j      V- 


»  '         V 


t     »^      » 


26        iV?  19.   ''Sheherazade,"  2^d  movement. 
N9l9.„Sheherazade','  2"!^  mouvement. 

p   y.  152 

/      Fl.picc 


N9  20.  "Sadko." 

N9  20.„Sadko." 

J:112. 


27 


^       N9  21.  "The  Legend  of  the  invisible  city  of  Kitesht 
2^  N?  2l.„Legende  de  la  ville  invisible  de  Kitejf 


Mais,  vol-ci    de  -  ja      la 
>  -Viol.  I. 


mort      pro  -  ohe.       de      Ten  -  fer    les  pei-nes     cru  -    el  -  le.'^I 


2H        N9  22.  ''The  Tsar's  Bride" 

N9  22.  „La  Fiancee  du  Tsar." 


N9  23.  "The  Legend  of  Tsar  Saltan: 
No23.„Legende  duTsar  Saltan:' 


Z\) 


go  N?  24.  '"Stidko"  (p.  336). 
N?24.„Sadko"(p.336\ 


iti.  Va      voir    la  belle         et    gTandc     ci  -  te, 


ta-ohe    de_voir le    do-g'e_puis- 


Ten.   Va 


]0 Qj  .  ^^1 

^1      I    I  If"       I   Il7i     cj  Ir       ■  irii    tj  ^  ^f ^^^ 


Bassi^  Va     voir     la  belle         et    grande     ci  -  te, 

'  Mt 


-te.  A   Ve  -  iii 

Arpa  e  Pianiuo. 


se     tu  dois   al    -      ler, Sad-ko!         ^^^  ^^^ 


63 

Fl.I. 


N9  25.   "Ivan  the  Terrible/'  Act  HI. 
N?  25.  „  La  Pskovitaine,"  8"ie  acto. 

Moderate,  (alia  breve.) 


31 


32       N?  26.  "Snegourotchka" 

N9  26.;,Sniegourotchka." 

[288 


1 


I 


83 


w 


Alti. 


Dans     des  yeux,bl6u- et,      ra  -    yon 


^ 


i    iJ     ii    i'i.       i        i 


2  Viol.  soli. 


rrnrn  if  f 


m  27.  "SaTiko"  (p.  296). 
^    N9  27.  „S^dko"(p.296). 

(Allegro  alia  marcia.  J=i3a.) 

CorJU  IV 


m  28.  "STiegourotchka/' 
j^jfJBTl    N9  28-  „Sniegourotchka.  I     ^j-,     ,      " 


85 


Misguir.  l,j 


yii'if '    r  *  y  pr  'f  pfp"  p  I"       r^P^   p^ 


pie  -    res, 


un    modeste   et    cmin-tif      re-g-ard. 


pu-di    -    que- 


.  Viol.   ^^'''""" 


5 


^ 


3g 


<■       flp 


^ 


^* 


V-le. 


S^ 


<lf^ 


^ 


Y— f-lF 


^ 


jv  V-c.  e  C-b 


Iil>    fl  M         ^ 


^ 


^^ 


86 


N9  29.  "Antar." 
NP  29.  „Antar." 
[48]  (Allegro  risoluto.) 


Plcc. 


N?  30.  "Sheherazade/'  3^^  movement  (p.  131). 
N?  30.  „Sheherazade"  8"}®  mouvement  (p.i3i). 


87 


TT^— /i^ 


N9  SI.  "The  Legend  of  the  invisible  city  of  KitesA. 

N9  31.  „Legende  de  la  ville  invisible  de  Kitej" 
12231 


89 


Je  doD-ne4tiis  tout  le  sang  demesvei  -      -    nes  vo  -  Ion -tier  &)  et   ma  vie,,  omonbien-ai 


CT9$0ifOC0 


4U 


N9  32.  "Antar: 

N?  32.„Antar." 

Adagio. 


41 


N9  33.   ''Snegourotchka/ 
^^        N9  33.„Sniegourotchka" 
12151  Vivace.  J=  iso. 

Tlmp. 


N9  34.  '^The  Legend  of  the  invisible  city  of  Kitesh: 
***        N9  34.,, Legende  de  la  ville  invisible  de  Kitejf' 
S^  Andante  tranquillo.  J:  5«. 


Jour  et luiit  chez  nousle      saint       of  -  fioe      est  chan-te 


san.s       re  - 


N?  35.  ''Spanish  Capriccio." 
N9  35.  „Capriccio  Espagnol." 


43 


^      N?  36.  ''The  Legend  of  Tsar  Saltan. 

N?  36.  „Leg:ende  duTsar  Saltan" 
18161  Andante.  J  =  66.  ^ 

Fl. pice.  Solo.  ^ 


Fl.pioc.e  Fl.I. 


N?  37.  ''Sheherazade/'  4'A  movement  (p.  140). 
N9  37.  „Sheherazadey4"l^  mouvement  ip.iiOj. 
PI  Vivo.  J  =  J.  =  88. 


45 

3        3 


^         PP 

N?  38.  ''Ivan  the  Terrible/'  Act  III  (p.  236). 
**     N?  38.  „La  Pskovitaine''  3"}*-'  acte  (p.  236 j. 
Fl.picc.e  2  Fl.gr. 


46 

Fl. piece  2  Fl.gr. 


i 


Arpa. 


1* 


m 


^^ 


^^m 


9 


iy?  39.  "The  Legend  of  the  itwisible  city  of  Kitesh. 
N9  39.  „Leg-ende  de  la  ville  invisible  de  Kitej." 

[441    J.  =  60. 

Pl.o  -alto  (Py. 


47 


Fl.c-alto. 


j¥«r  p  rrr 


^ 


■^T*rJj 


^^ 


^ 


i 


Cl.  basso. 


^ 


1 


f'     iiii'ip! 


^ 


^^ 


^ 


^ 


Fevr. 


i,h   pj     Ji  J.         I  J   d^ 


^ 


chan     -       te 


dans    les      bois 


mer-  veil  -  leu 


se-  ment. 


'^^M 


V-le  div 


j^h  r"vrj^p 


V-c. 


^ 


C-b. 


^^ 


3S 


^ 


jF^ 


^ 


iJMT^P 


^^ 


■v 


s 


^ 


48      N?  40.   ^'Sheherazade,"  2nd  movement  (p.  43). 
N'.*  40.  „wSheherazader  2"}®  mouvement  (p. 43) 
Andantino.  *^  =  n2. 

Capriccioso,  quasi  recitando 
Fa*?.  1. Solo.  ^^^^  ■  ^^ry^Ji^ — -^^        > 


dolcc  ed  esprcss 
III.    **C':/n  sord.    •**  ^^*- 


N9  41.  "Snegourotchka/' 

N?  41  .jjSniegourotchka'/ 

Larghetto.  J-zso. 

Ob.I.Solo 


49 


dolce 
Snieff.  dolce  assai 


Jeconnaisjeoon  -  nals,  ma       me 


re,        tous  les chants   — 


P      Piip-    rt.\^m 


les   plus  beaux.     Le        ohant. 


de    Pa    -      lou  -  et 


te, 


qui         monte    et  rit         au    ciel       d'e-te 


Et  le       plain -tif         ap- 


^A^^i 


-pel        du     cy    -     gne  sur        I'ioau     dor-man  -  te      de      .l^B-tang 


N9  42.  "The  Golden  Cockerel"  (p.  75). 

^^     N9  42.„Le  Coq  d'Or"(p.75). 
Andantino .  J  =  7« 


Fl.I 


N9  43.  "The  Golden  Cockerel"  (p.  119). 
N9  43.  „Le  Coq  d'0r"{p.ii9). 
Andantino.  J  =  88. 


IVarco 


N?  44.  "Spanish  Capriccio" 
N9  44.  „Capriccio  Espagnol'.' 


51 


Cor. ingl. Solo 


2V?  45.  ''The  Golden  Cockerel: 
N9  45.„Le  Coq  d'Or." 

[l]  Larghetto  assai.  j]=  «*• 


Dodon.  L^oiselier  du  roi  apporte  une  perruche  verte,  attachee  a  un  anneau  par  une  chaine 


Dodon    Elle  chante,  fait  claquer  sa  lang^e,  siffle. 


52    iV?  46.    ""Mlada,"'  Act  II   (f.206) 
N9  46.  „Mlada;'  2"?^  acte  (p.  206). 
(Al)egro  vivo.) 

Cl.picc.(D\^ .  ^  fi^s.  .  L  L  ♦  ^ 


N9  47.   "Snegourotchka'' 
N?  47.  „Sniegourotchka!' 


I^gi  Moderato  assai.  w.  so 


^^N^-        <    J   If    T  p  P  P  r?  I  p-  p  p  p  ^^^ 


Mod       ame  e-tait  Joyeusea  -    vant     de  teoonnai-tre,      ma 


.VioLTILeV-le. 


vie          heureuse  e-tait  sans      lar-Tne8,sansangi(^sHeeteanssouf-fVan  -  ce. 
■^  ^  ^ ^4 

— H 


N9  48.  "Snegouroicihia,. ' 
N9  48.  „Sniegourotchkaf' 
12461  Maestoso. 

Cl.  basso  (b) 


53 


Trem-bledonc,  en-ftuiti  c'est  vrai,  je  suis  ter-ri-ble.  Oui,       je  veux    pu-nir    Tof- 


I 


jm^'   ^ 


^ 


=Ri 


bl--. 


n^y  f^  t^  P  p  H'  'Tlrii-       p  V  /    u^-P^  P  P  r? 


-fen- se  qui  m'a  fait  rougir    le front- 


Et    me  voir  en  -  fin    ven  - 


-ge     de  ma  douleur  et    de     ma        hon 

N9  49.  "Vera  Scheloga.'' 

N9  49.  „La  Borarine  Vera  Chelogaf 
Andantino.  J«88. 

Fag.  I- Solo 


Ah, 
teu.assat 


je      ne   puis    comrpren-dre. 


'  /K  a  H       I         ten.assat,  i 


J  J  1 


^^ 


Viol.  'jt^t/ 

11.       ten.assai 


m. 


^^ 


^^ 


J    r    p 


r      r     p 


54  N9  50.    'The  Golden  Cockerel "  (^.330). 
NO  50  „Le  Coq  d'Or'' (p.  330> 

F1.I.II.  %%.       %\ 


N9  51    "Mlada,"  Act  UI  (p.  359) 

N?  51.  „Mlada"  S^e  actr  (p.  859). 
(Meno  mo890.) 

Solo—.   ^.     •  ,  .  ♦» >^-.-,ii-  ^L-  ■ 


55 


56     N9  52.   '-'Snegourotchkaf 
W  52.  ,,Sniegourotchka" 
[i  (Moderate). 


Par  -  mi  vous,6jeu-nes  fil-lesine    ca-ohoz  vous  pas     niaKou-pa-va       bien  -  ai   -    me-e' 


Fl.eOb.unis. 


Fag: 


m. 


^^  -^ 


JPJ'v/ 


^=^  w 


CoroNous  ne  te  don-ne-rons 


pas     notre  a -mi-  e!  Nous  ne  te  don-ne-rons 


pas     ta  Kou-pa-va! 


N9  53.    ''The  Legend  of  the  invisible  city  of  Kitesh"  (p.  49i)* 
M9  53.  ,,Legende  de  la  villc  invisible  de  Kitej"  (p.49i). 
(Moderate  assai.  J  x  72.) 


57 


Fl.MI.  a  2 


Rassi. 


son   -        -  nent        flu       -        tu^,       g'ouss-li! 


N*^  54.  ''Snegourotchka  "  (p.  133) 

N9  54.„Sniegourotchka"  (p  t3H) 
Animato. 


Voi-ei        de  Por:pre-nez,niu.sbel-les  fil-les.        Je   siiis    joyeuxde  vous  pa-yer    ran-(^on 


58        N9  55.    "Snegourotchka  "  (p.  866) 
N9  55.  „Sniegourotchka"  (p.sfis). 

Fi.pioo/Alleflfro  <Jri26).  ^  ^  . 

eFi.i  t ^fr> — ^^ — ^E> — --N^! 


'     N9  56.  ''bpanish  Capriccio." 
N?56.  „Capriccio  Espagncl!' 

iWI  ■»    «    = 


N9  57.  "Snegourotchka"  (p.306). 

N9  57.  „Sniegourotchka"  fp.306V 
Allegro  con  anima. 


09 


ppp 


M  sc"  ■      ^®  fantome  de  Snieg'ourotchka  se  montre  dans  la  foret. 


60 


NP  58.   ''Sheherazade,"  3rd  movement. 

N9  58.  „Sheherazade*'  3"1^'  mouvement. 
_(J..6a> 

^^'''riff'nril  rTt-ti^  r^-^ni  r^^ 


Fui.j-j^^jj^  rri-iT-i  iT^^rni 


J ^ 


'pM.r  Cii;  mr"ru3^^ 


rww[j£:£x; 


N9  59.  '"Vera  Scheloga'' 
NO  59.„La  Boiarine  Vera  Cheloga." 
Moderate  assai.  J.  96. 

>CM(A)^^ 


61 


Je  ne fus pas heureuse,  mais resig-ne-e,  Ivan  Semenitoh  m'aai-mee  a  la  fo4i-e 


N9  60.   "Mlada,"  Ad  UI  (p. 389). 

N9  60.  „MladaV  3™®  acte  (p.  389). 
Andante  quasi  allegretto. 

-Timp.picc 


62 


N9  61.  "Mlckda,"  Act  JJ  (j>.  205). 
N9  61.  „Mlada','  2"2«  acte  ,p..205K 
(Allegro  vivo.) 

Cor.  unis. 


vA    Fl.picc 


Solo 


%mmm^f^ 


JV?  62.  "Serviliar 

N9  62.  „Servilia!' 
Iggi  Andante. J  =  7a. 


lueur  roug-e;  dans  un  broiiillard  parait  le  spectre  d'une  vieille- 
Piatti.  I 

-^ i 


KP- 


'■/ 


/f.  Le  Spectre. 


soiirdement 


Quidoncinae-voquee  ? 

ful  ponticeilo 


N9  63.  ''The  Tsar's  Bride" 

•. ,  N9  63.  „La  Fiancee   du  Tsar." 

Elol  Adagio.  J.- 48. 

.IFl.eOb.T. 


65 


N9  64.  "Spanish  Capriccio"    (p.  57). 
*    N9  64.  „Capriccio  Espagnol"  ^p  57). 

Fl>»icc.ea  ¥\. 

^^,-—  ■'   — .  ^,— — ^  J, 


66 


N?  65.     '"Aniar,"  isj  version,  3V^  movement  (commencement). 

N9  65.  „Antar,"  premiere  version,  3"1®  mouvement  (debut). 
Allegro  risoluto. 


Fl.  pice. 


N?  66.    "Sheherazade ,"  S^J^  movement. 
N?  66.  „Sheherazacle*/  3"'.^mouveinent. 


67 


N?  67.    "Spanish  Capriccio"  (p.79). 
N9  67.  nCapriccio  Espagnol"  cp  79). 
Fi.ploc.     tri 


69 


jy  /eroce 


2V?  6S.  ''The  Christmas  Night 
•^   N9  68.  „La  Nuit  de  Noel!' 


^^ 


^^ 


'      J     J    !■      J  ^ 


Arpafip 


^^ 


,1     f     f 


vie 


QuVUe         est    dou-ce,   re  r  pe-tee       dans   Tombre  e  -  paisse     des^ 

iAUi. 


.val  -   Ions! 


N?  69.  "The  Legend  of  the  invisible  city  of  Kitesh: 
gg  N9  69.  „Leg-ende  de  la  ville  invisible  de  Kitej." 


71 


^V-le 


arca_ 


Nuit      et       joui'  c'est      un         o)iaiit  nier-veil  -  leux<  tres 


7ii      N?  70.  ''The  Legend  of  the  invisible  city  of  Kite sh: 
N9  70.  jjLegende  de  la  ville  invisible  de  Kitej." 
1651 


^^^^ 


usim 


LLi.r  m^ 


rfTrrxCr 


3  Tr-bni. 


74      N9  7L    "Sadkor 
N?  71.„Sadkol' 

f34a]Allegro.  i-.wi. 


0    roi  tout    puissant,    roi  cru-el       «lesiners>  tu  ifa-vais    a   toi   qu'u-in>  t/Ctc    on  bois. 
Vioi.u.  tr  tr  tr 


***  iV?  7^.   "SnegourotchkaP 

N?  72.  „Sniegourotchka!' 
Allegro.  J=ia«f. 

Ob. 


^ 


jirt  iij  n 


a 


m 


A 


■:z 


I 


C1.(BJ  I 


Ji 


i.  »  J1  r 


m 


i 


fl 


j: 


» 


fl 


JH 


i 


^ 


^ 


Fag 


^ 


i 


^ 


^ 


a 


^^^ 


# 


1 


p 


s 


JL 


*=:5-rf 


|>^'H"pM'J'lr^ 


f'ii'O  J  lr?>^^ 


^^ 


^ 


P 


Ten  Le  ruisseau  murmu-rt , 


lerucherbourdoii  -  ne,  chantons  en-semble 


la,  sais'jn  nou-vel  -  le. 


^ 


Le  ruisseau  murtnu-i*e, 
Bassi. 


le  rucherbourdon  -  ne,  chantons  en  -  semble 
\/,    IT  H-l *. 


^ 


la  saison  nou-vel  -  le 

0 


m 


^ 


N?  73.     ''Antar"  3rd  movement 
N9  73.  „Antar;*  8"^*^  mouvement 

^   Allegro. 

FI.I.Solo 


75 


14.  '"Shehera zade ,"  ^^.^  movement  {p. 51). 
N*^  74.  nShehcrazadeJ'  ii"l'' mouvem^^i.t    (V-si 
Molto  moderato. 
Ob.  recit. 


morvndo 


'^^     N9  75.   "Sadko"  (p.  498). 
N?  75.  „Sadko"  (p.498). 
(Allegro  J-:6e  alia  breve.) 

Fl.I.e  Ob.I.II. 
as 


8CHA)a8 


f  rrrfrrrrrfi 


^M 


■r   r^r  Tijcnr 


^^ 


'r|i^'r«^r»p'r« 


Tr-be.(A^ 


ffl^^^^^ 


FFFFFPFFFFPF 


3  Tr  bni. 


glF^ 


f  r  r  -^r  r  Ir 


|it{^'  r'     r 


^ 


^ 


77 


N9  76.   'The  May  Night."  Act  III  fcommencememt). 
N?  76.   „Le   Nuit  de  Mai('  8™«  acte  (debut). 

Fi.   Molto  andante. 


^i^ 


M 


PP- 


Ob. 


^m 


m 


pp- 


C1.(A) 


^* 


PP- 


t 


aS 


xc 


^m 


m^ 


^^ 


m 


m 


^ 


'7 


p^ 


p- 


CoriE) 


1 


IV. 


^^ 


^ 


g 


con  sord 


*f?P 


•78        N9  77.  "Sheherazade"  4^^  movement  (p. £04). 

N?  77.  „Sheherazade('    4".^«  mouvement  (p.  204). 
Allegro  non  troppo  maestoso.  J- :6o 

y  ^FLpicc. 


Timp.    .ff^ 


^^ 


■^"""S;  // 


If 


Tamb 
no.      6 


Tamb.  4 
pice,  ft 

Piatti.fs 


Crissa 


'■"^^ 


:^»=: 


Cor. 


:^ 


:Si 


a  2  maestoso 


Tr-bni.*^^ 

Tuba,  ■a-'maestos. 


•^ 


tk 


^^ 


^^ 


Triang". 


Piatti. 


^rEEBT 


ECgr  ^ 


^ 


-^-^ 


Cassa. 


^rrrrrf '  r  <-^ 


N?  78.  "Mlada,"  Act  UI  Xp.350). 
N?  78.  „MladaV  3"}«  acte  (p. 350) 

(Allegro  non  troppo.) 

^A    2  C1.(B) 


81 


Du  milieu  de  la  ronde  infemnle  surg'it  Tchernobog,  sous  la  forme  d'un  bone  et  avec  sacour; 


derriere  lui  Kachtchei  aveo  ses  goussli,  Tcherv, Topeletz,Tchouma  et  Morena. 
v.-l«.  ir\  tt\  .     *  :►  Jb^ 


82 


N9  79.  "Mlada,"  Act  III  (p.  370) 
N9  79.  „Mlada;'  3"!©  arte  (p.sro). 
Sostenuto  e  maestoso. 


Viens,ap-pa-rais'.  Sorsdc    la  iiuit    d&t!   ten<ps!  Toi  qu''a-doraientle.s  roi.s    lesp.itres. 


N9  80.  "The  May  Night,"  Act  HI. 
N?  80.  „La  Nuit  de  Mai;*  8"}®  acte 
|bj  (Andantino  animato!) 


88 


^      Doux      zephyr,    tu         pas-ses     comme  un  bavser    sur       les    per  -  ven-ches 


C^      '^^^     '  C^     ^"^     '  ^"^      ^^^     '  P^      ^^ 


f 


^        Ymsi.  "Sadkor 
3551      N?81.„Sadkol' 
(Andante. /= 76.) 


Arpe. 


Dors   pai  -  si  -  ble,      her  -  be     ten  -  dre.     Her  -  be      ver  -  te     mousse  de      soie 


Arpe 


Tes  chants  on     se  -    duit    mon  coeur,  Tons    ils    ont    ra  -    vi  -  men      ame 


N?  82.  '-'Sadko." 
N9  82.  „Sadko'/ 

153  (Andante.  J=7».) 


85 


3F1. 


V  ■  dim.  PP 

^  •   .      Sur  le  lac  na«ent  en  b&nde  des  cyynes  blaocs  et  des  canards  gris. 
Sadko. 


8  Fl 

-^   /I  «/^^  i^  )t.  ^  ^  i^  i^^  i^  i^  ^  i^  i'i 

i^^^m^K^ 

'l^i* 

k^^*i*i>i 

rWiif  p  p^p  p  p  p  P:^ 

»*p  M  P 

t5B 

LLfnJi 

m — H-i^-T  L-T-i   r  r  r  r  r  r 

/iC.ing-l.          __ 

— L_r_j  L 

— **«: F= 

t=f— 

'     Sadko. 

Jl u, = J = . 

^3 

^ -}^-^ * ; ; 

cyffnes 

III)      tip            J        |3l|-       =i^ PI     tfP 1 -3+» 0'  "=D 

BKY          ^ VL^ J 

•S."           kolce 

F — ^ -^ 

— ifc=i- 

3  Fl 


Ifm  "r^^r^r?^ 


H(> 


N?  83.  ''Sadkor 
N9  83.  „Sadk.o." 
1123]  Andante. 


Choeur 

Alti.    ^^yg"^^  blancs,  dans  lea  coulisses) 


i^OAlti.    ^^Js"*'^  "'^"cs,  aans  lea  couiissesj  ,       K.     i 

11^ '(   J!  li^^^^^-l     J),iJ     J'JIll^    '^J-'     ^'  ■''ll'l ^^'' 


Cy  -  g7iesblanca,et  mou-et  -  tes  grises,  re- toumonsiplongeons  dans  le     lac! 
V-Ie.  arco 


N9  84.  ''The  Legend  of  Tsar  Saltan"  (p. 54). 
N9  84.  „Legenae  duTsar  Saltan"  (p  54j, 


(Allegretto  alia  raarcla.  j:9«.) 


87 


N9  85.  "Ivan  the  Terrible,"  overture  (deginning). 
N9  85.  „La  Pskovitaine"  ouverture  (debut). 
»Fi.  Maestoso. 


90     N9  86.  "Sadko." 
N?86.  „Sadko!' 


|3|    (Largo.  el.:44.) 


N9  87.  "Kashtchei  the  Immortal." 

N9  87.  pKachtchei  I'lmmortei:* 


9i 


Fi    ice  IJQzJ  con  tuttaforza  ed  espressione  e  poco  rubato 


calmando 


creso. 
Viol. 


jfcon  tuttaforza  ed  espressione  e  poco  rubato 


sfdim. 


na        N?  88.  '^Servilia." 

N9  88.  „Servilia(* 


Bi|  Allegro 


N9  89.  "Servilia." 

N?  89.  „Servilial' 

Lento.J=52. 


93 


Cor. 


^   '  '  d     ^^ 


<  bj    <  ^h 


*  ij'j    *13)^ 


N9  90.  ''Sheherazade/'  4'*  part. 

N9  90.  „Sheherazade,"    4"l^  partie. 

'Vivo.  J.  =  8&>fu| 


95 


96 


Fl.pieo 


97 


Pl.picc 


V-le. 


^ 


C-b. 


^m 


m 


^=# 


* 

^^ 
^ 


flo       N?  91.  ''The  Legend  of  Tsar  Saltan! 

N9  91.  „Leg:ende  duTsar  Saltan!' 

(Andante)  animando povo  a  poco 
.pico. 


H  Jili)Ji|L'i'i^^ 


Nouspleuron8,noslarjnes»     rem    -    pli-ront     lesmers,  co\i-vri-ront  les     champs  fleu-ris. 


^     ^    ^ 


m 


h    j>    j>     i) 


m 


^^ 


»  B  »  P» 


ii    *        ^       * 


^^ 


^^ 


CJlfE££r££^ 


^S 


JV?  92.  "The  Golden  Cockerel/' 
N9  92.„LeCoq  d'Or." 

|g8l    An(iantino.  J  =  88 


99 


N?  93.  ^'Snegourotchka"  (p.  269). 
N?  93.  „Sniegourotchka"  (p-  269) 


tf«^ 


^ 


i^ 


#^ 


^ 


^ 


^ 


^ 


^ 


TT 


fr^r 


Faff. 


a2  ^"^ 


f  r 


L^f 


i^S^U 


^r ;  'uu'u  c;'r  r  t  ;  'uwuwr 


h-HH-. 


VioMellnnis. 


100     N9  94.  '^negourotchka''  (p.  271). 
N9  94.  v.Sniegourotchka"  (p.  27i). 


kViol.Iell  unis 


Lj  u'  '  ^  L-T  '  r — r 


Fap. 


n  n 


ri  r3  ^=^=^ 


IP 


Tanib-no. 


/     Viol.  I  e  II  nnis 


i'  I  n"T^ 


^ 


LJ  L-f   '  LJ  u*   '  r 


N9  95.  "Snegourotchka." 
^9  95.  „Sniegourotchka." 

(MlCAllegro.^) 

aFi.picc 


101 


dim 


loa 


■i  Fl.  pic 


diiH 


ff     dim. 


N9  96.  "Ivan  the  Terrible,"  ActUI  (p.  sis). 
N?  96.  „La  Pskovitaine,"  8"]«  acte  (p.aiS). 
F}-    (Moderato  alia  breve)  allarg.  poco 


103 


Epargxie,epargiieaumoinsrnafil 


104     NO  97.  "Snegourdtchka." 

N9  97.  „Sniegourotchkal* 

Grave  e  raaesioso.  w=60. 

Im]         a2 
Fl. 


N9  98.  "The  Legend  of  Tsar  Saltan: 

N9  98.  „Legende  du  Tsar  Saltan'.' 
(Maestoso  con  moto.  J- 84.) 

Fl.picc.  11351 


105 


106 


PI   picc. 


N?  99.  "Snegourotchka"  (p.us) 
N9  99.  ,,Sniegourotchka"  (p.iw). 
Animato  assai.   J.  126. 


107 


v  Viol../ 


Mai  -    heu  •     reu-  se,  mal-  heu  -  reu  -    se 

1^ 


^ 


II.  :^ 


P     »    "P      » 


Vous          ton  -    tes 
^  


108        ^^  ^^^-  '"^^^  Christmas  Night 
NPIOG.  „La  Nuit  de  Noel" 
Andante.  J -72. 

4A  ■" 


^?  iOl.  "The  Christmas  Night." 

N9lOi:  „La  Nun  de  Noel." 

1210 1  Andante.  J)- 112. 


109 


Sopr.  I. 


]'''  I  .  ? 


5^ 


W=:7=m^ 


r   p^i'^JIeEr.^ 


m 


Sopr.II. 


La       sa^van  -  ce 


Ko  -    Jia-da, 


^^    J    liJ^JjuP 


j       J>  i^ ' 


Ko  .    lia-d^ la    1  jenne  est  la 


J  ij'rj  J' 


Alti  I. 


La      s'a-van  -  ce 


Ko  -   lia-da. 


Ko  -    lia-da —     la. 


jeuiie  est  lu 


Alti  II. 


La      s"a-van  -  ce 


Ko  -   lia-da 


Ko   -   lia-da la 


fcl= 


La  s'a      -         van     -      ce  Kx>     -       lia 


^^ 


^^ 


da 


no 


sur      uii   trai  -  nc-axi.bien  pa -re. 

Sour.  II. 


....  ,  siir     uii  trai  -  neau  bi    -   prnr- re 
Altl  !• 


I 


fcfe 


^ 


siir       nil  trai  -,  neau  bi      -         gur-re! 


la 


^ 


'   7*'  d 


AIti  II. 


La      voi  -  la. 


sur        un  trai-nt-aii 


bi  -  g'ar  -  rn 


voi -  la 


sur        un   trai -neau   bi    -  gar  -  re 
IK 


m  J  j^^J 


V-e. 


C-b. 


div. 


v'i*jiH  r   ^1   » 


J_j^j    «^^^p 


-J    ^ 


Jr-^. 


f^ 


^^ 


e 


I        V  j      y 


f 


N?  i02.  "Snegourotchka." 
N9102.  „Snieg:ourotchka!' 
H,87|  Andantino.  j.66 

Fi.  \  ^ 

u 


111 


N9  103.  "The  Legend  of  the  invisible  rityof  Kitesh! 
**2     N?  103 .  „Legende  de  la  viUe  invisible  de  Kitej " 
[s]  (Larghetto.  J  =  sa) 


pp'  ^ — -r  I  " T 

^   N?  104.  ''The  Golden  Cockerel^ 

N?104.„Le  Coqd^Or." 
[4]  (Lento.  J  =  go. 


C=/     t      ilJ 


N?  105.   "The  Christmas  Night"  (p.  JS47). 
N?105.„La  Nuit  de  Noel"  (p. 347). 
Adagio.  J 


N?  106.   "The  Christmas  Night,"  Prelude. 
N9  106.  „La  Nuit  de  Noel"  Prelude. 

Adagio.  M.M.J=B6.  _,      _  flxsTi^ 


113 


N9  107.    ""Snegourotchka/* 
*1*      N9 107.  „SniegourotchkaV 

fi97l(J.fr6) 


Wr                t/J  v|  f                LLJ  1  1 

ir     f    1  1 

;,«;               fff    *»f               fff 

¥      f 

lA^i          yj^7 1  *          wj  T 1 

i       .  ^    >   t 

tre,         80 


leil,         o      dieu  do  flam    -     ne- 


N9  108.  ''Snegourotch^* 
N?  108.„Sniegourotchka'/ 


la         ten-te 


iV?  109.   "Sheherazade/'  isjmovemiu  {f.a). 
N9 109.  „Shehera2?ide,    1®.^  mouvement  (p.8>. 


(Largo.  Jr48.) 

IJEL    - 


iV?  no.  "The  Legend  of  Tsar  Saltan  "  (p.i97). 
N9  110.  „Legende  du Tsar  Saltan"  (p.i97). 
(Allegro.  J  =  126) 


115 


i 


Voix  des  e.sprits  dans  les  airs  (6-10  Tenors  dans  la  coulisse) 


"m 


g  i»r  Pv^Pir  «r  s  i'Qh 


^ 


^ 


Gvi  -  don   tri   -    oni  -  phe!       Mai  -  lieur     a     nous      tous! 
Voix  du  niagicien  (6-10  Basses  dans  la  coulisse) 


^^ 


y-le.  con  sord. 


Ah,         je         de  - 


A?  Ul.   "The  Legend  of  Tsar  Saltan." 
***     N9  HI.  „LeVende  du  Tsar  Saltan  f 
iilSI  Andante.  J  «  u. 

rLpico.J        ^3         3 


De  la  mer  sort  V  Oiseau-cyj^e,  qu^  illuminent  les  rayons  I'unaires 


1^     N?  m.    "Sadko,"  (ofemnf  of  Uu  2*i  tableau). 
N9112.  „Sadkor  (debut  du  2 me  tableau). 

GS  Andante.  JrTs. 

3F1. 


La  rive  du  lac  Ilmen^   une    ^rande   pierre  blanohe.  Claire  nuifc  d'*et6;    Le  ordissantdelalune 
I. 


*»> 


117 


a  son  dcclin.  Parait  Sadko:  il  s''asseoit  sur  une  pierre,  tenant  a  la  main  ses  goussli. 


118 


N?  113.    ''The  Tsar's  Bride'.' 

N9113.  „LaFiancee  duTsar." 
|126|  Alleffro  nontroppo.  J  =  u 

Fl. 


M  P  P  f  ^p 


^ 


P 


tttt 


% 


^ 


to^'^r^^ry^ff 


iTf\T  .i/p 


^ 


%Cor.  ingl. 


* 


i 


i 


"r^r  ''r»rV 


S 


^    C1.(B> 


S 


|iiiii<^[^ 


W^ 


Faf 


*>i  «r' 


p  |"r^r^*rttr'i^ff 


^^i 


^t=.^ 


y^^ 


Bomeli  (du  dedans) 


^^p  p  p  r » 


Lioubacha. 


^  7  hift  ff  JV',^ 


^^^ 


Qui  ft-appe-i  -  ci?  Tu    ver-ras  si  tu  ouvrt-s. 

N9  114.    'The  Legend  of  the  invisible  city  of  Kitesh"  (p. 
N9  114.  „Legende  de  la  ville  invisible  de  Kitej  "  (p.  127). 


(Allegro.  J  =  J20.) 


127). 


Qui    nous      don  -  ne    du    pain       Est    un     bon      sou  -  ve   -  rain. 


N?  Its.    ''The  Legend  of  the  invisible  city  of  Kitesh"  (f.257). 
N9  115.  „Legende  de  la  ville  invisible  de  Kitej"  fp.257) 

(J  .  92) 


il9 


N?  tie.    "The  Legend  of  the  invisible  city  of  Kitesh'.' 

N9 116.  „Legende  de  la  ville  invisible  de  Kitej." 
(Moderato  assai.  J  =  92^ 


N?  U7.    ''The  Golden  Cockerel"  (p.  3is). 
120       N?  117.  ,.Le  Coq  d'Or"  (p. 315). 

f  J  :  120)  riten.  poco 


^       N?  118.   "Snegourotchka, 

N9118.  „Snie^ourotchka(' 

i^  (Allegro.  1=  76) 


Mais  non^     au  -   pres     de     toi         Ta  -  mour   m'e-veil  -le  a        la    vi    -    e 


Misg-. 


Ton  bras  vail-  lant  in'o-treint,  mon    front  s'ap-puie    a         ton      e  -  paule 


N?  119.   "Snegourotchkat 

N9  119.  „Sniegourotchka? 
13181  (Larghetto.  J.=  sa) 


121 


.ci.(B)^'         I. ,k  1^- — ir — ; :^  1 


^ 


^^ 


i 


fe 


f     ^-^hj"":^ 


^-"Tj.     /-^^ 


^"TJiJ 


^ 


rftp: 


^•- 


'f^ -f^ 


T^ 


r^ 


O  I r^^Tr-TJ^ 


122 


N9  120.   "Sadko." 
N9  120.  „Sadko." 
I  ("Andante.  c)-:.:52.)_ 


Sadko. 


^ 


■Tw^. 


Ifc 


rircfCf-Tr  ir-^r  r    *  rr     r^ 


Et. 


con    sord. 


par-tout  ou  ,j  i  -rai,dana  le  nionde    «'ii  -  tier  Son 


123 


II.III.a2 


morendo 
Sadko. 


j'  r       >  r  r.  If  r  f  r       f       r  fre 


riches 


Vpiis   vieii-drez    sa  -  lu  -  er 


div. 


jiisqua 


ifjjiinTm  jiiiiiiiiiji 


p cresc 


125 


,o«    N9  121.    "Sadko." 

NO  121.  „Sadko:' 

Allegro  non  troppo.  ^  =  \yi. 
.Ob.  I.  .— ,« 


N9  122.   "Sadko." 

N9122.„Sadko'.' 

S (And amino.  J  =84.) 

-/*   aOb 


127 


k'  M-^  'clH^  'cM  'cEdJiciDlr  'dlrLr 


128 


Fl.I.soIo. 


L'Indou. 


^m 


jjj.?fl-"Cfi"r1'fa-etf^^ 


D\i  -  nevoiy  ra-vis-  san 


N9  123.    "Kashtche'i  the  Immortal"  (p.  119) 
N9  123.  „Kachtchei  rimmortel"  ip.119). 
fOb'Con  sord. 


129 


JV?  124.  "The  Legend  of  the  invisible  city  of  Kitesh/* 
N9124.  „Legende  de  la  ville  invisible  de  Kitej" 
K2I    (Poco  larghetto.  J. -68.) 


130    jy»  2^   "The  Legend  of  the  invisible  city  of  Kitesh"  (p.89^). 
N?  125.  „Legende  de  la  ville  invisible  de  Kitej"  (p.39;^). 
Larghetto  alia  breve.  4^  s*- 


PP 
V-le.  con  sord 


^K 


^P 


s 


^m 


PP 

V-c.I.  c,^sord. 


'>t^,;  nnr^n^nn\is!^^^^^ 


PP 

V-cDeC-b. 


^ 


(synaa  80g4^ 


^ 


PP 


^  N9  126.  "The  Legend  of  the  invisible  city  of  Kitesh"  (p.5i7), 
N9126.  „Legende  de  la  ville  invisible  de  Kitej"  (p.si?), 
(Moderato  .  J  =96.) 

y    Cor,  ingl.  con  sord. 


Ts     ppp 

Fi^VTonia. 


i 


^m 


Fleu    -     ri 


tous 


pa    -     reils  au  pal-mier, 


>         PP 


131 


PI. I. II 


Com    -    me  monteandiantbarmcj    -     ni  -  eux 


d'ir    -       re-els  oiseauXiChanteurs       du    del 


Arpa  II      6n:ut,ret>,mi|>,fatt,sol{|,la,si)(      glias. 


N9  127.   "The  Golden  Cockerel." 
*32       N9127.  „Le  Coq  d'Or!* 
ja]   (Lento.  J  =  6o) 


I 


N?  128.  ''The  Golden  Cockerel?^ 
Noi28.,.Le  Coq  d'Or." 

I— : — I    Larffhetto. (J=52)  animando pochissimo 


133 


Pour  me  la  •  Iral  -  chir  la  peau     .je  mas-  per  -  g^e    (U-   ro  .  se  -  e. 


rtsv.poco 


ia4 


N?  129.  ''Snegourotchka"  (p.950). 
N9  129.„Sniegourotchka"  (p.a5u>. 

(Andante.  J  --  ea* 


135 


N?  130.  "Sadkor 

N9130.„Sadko." 


■   575]  f  Allegro.  J     w. 


Le  poisson  pris  au  fili-t  se  traiisf'ornie  en  im  linpot  dor  qui  sfMiniUe  .ni  soleil. 
Triang-.jfr'^ 


crcsc.  molto 


- 


'^^ 


^k=^ 


«^Viol..v/' 
II 


in  > 

V-c.e  C-b. 


!^ 


cresc.  niolto 


N?  131.   "Sadkor 
N9131.  „Saclko" 

191l  I 

(Andante  nontroppo.  J  =  84.' 


137 


Va  -  giics  en  hur-lant  as  -  sie-gent  nos     ri  -  va  -  ges        et      blan-ches    de    co-lere  at- 
aS 


-f"quentnob  rochers! Mab hont  sur  laiii«arplanentiiosrofssauvag\s  E-coutantleurs>chantssansbrpnchor 


...w       N^  1S2.   ''The  Christmas  Night"  (p. 309). 
N':'132.  „La  Nuit  dc  Noel"  (p.au'.t) 

Fl.picc.% 


Alii. 


m 


Hou-ln.u-lioii-hou  liCiii^.ou  ho\i-liou4iuu-hou^)oul!i;ti  -  ItuiI 


^"^^ 


Sf^S: 


^^^^^S 


il 


h=w 


^ 


Ten 


Hon 


hon-hoii-hoii-hou-Jiouhou-  hou! 


m 


^^^ 


^,=^i:^^.=^-^=^mmm^^^^^s^^ 


Hou  ._ 
B-tssi.//"  > — - 


buu-lioii-hoii-Jioii-lioii-liuiiliip.i-liou-lu.u-lioii-hoii  lion! 


Hou 


hou-hoii-lioulioii-how-hou'. 


^^^^3^???  I,|. 


139 


N?  133.  "The  Legend  of  Tsar  Saltan^ 
N9l33.„Legende  du  Tsar  Saltan." 


S(Maestoso.  J  <  63.) 
Fl.picc 


140 


Fl.picc.  e  2F1. 


141 


N9  134.  ''The  Legend  of  the  invisible  city  of  Kitesh!' 
N9 134.  „Legende  de  la  ville  invisible  de  Kitej." 


Ii99|  (Allegro.  J  .  isa) 


'Tr  be/        marcato 
^(c-altaF)  secco_ 


4  rpvp 


[J  yP?  P  Y 


XpytigvTv 


[^^P>P^ 


^^p->^ 


yl>ft  ^  ft» 


^^ 


ifti.  t  pvpv 


^ 


^^ 


i 


^^ 


^ 


^ 


Tr-bni.       *ecfo 


sii= 


^^ 


^ 


Jyj  Pyft^Y  j[  ^ 


^RF=^ 


ry^ 


"s 


Piatti 


•J    J    J    iJ   J    J    I  J     i     »    U    J    J   I  J    ^   J  iJ    ^    J 


iV?  i55.  "The  Golden  Cockerel"  (p.  143). 
N9l35.„Le  Coq  d'Or"  (p. us). 

(Moderate.  J  =  5o.) 

C-Far. 


V^^J  V  J V  I?  M  P  » I.J V  J  V  P  V  IT  ViJ  V  Jv  ^ H  P  Vi.J>^  J^v  P  V 


Ccr.ill.rV. 


pizz. 


142 


N?  136.  ''Snegourotchka"  (p.  97) 
N9l36.„Sniegourotchka"  (p. 97). 
Adagio.  Recit. 


Bon-nes   pens,   ve-nezet  vo-vez  tous>cet-te  mer-veil-le!     (Sniegourotc-hka  se  montre'i 

m , 

"6   .<*#!;>■ 


I CORO-    (Tons   s'approchent  dii  tronc  d'arbre) 


Sopr. 


N9  137.    "Servilia 
N9137.  „Serviliaf' 
)Fij-  (Allegro  maestosoJ 


143 


Piu  lento,  d  -.  io>». 

a  2 


144    JV'P/^A  "The  Legend  of  Tsar ^Saltanr 

NO  138.  „Leffende  du  Tsar  Saltan!' 


„Legende 
Moderate  assai.  J  =  84 


I.  II.  con  sord. 


N?  139.  "The  Legend  of  the  invisible  city  of  Kitesh" 
N9139.  „Legende  de  la  ville  invisible  de  Kitej." 

Il58|  Maestoso. 


145 


^      N?  140.  "The  Legend  of  the  invisible  city  of  Kitesh: 

N9140.  ,,Legende  de  la  ville  invisible  de  Kitej" 

|248|  (Larghetto  alia  breve,  jl:  52.) 

ci.miCa)     


146 


N9  141.  ''The  Tsar's  Bride! 
N9141.,.La  Fiancee  du  Tsar.' 

|50|   Allegretio.  J  =  ii2. 

Cl\B) 


P 


s 


m 


aa 


m 


do^'Jt 


dim. 


Fag-. 


« 


JDl! 


rt 


^ 


aim 


^ 


a 


^ 


N  ^ 


^ 


.  i/:^;^ 


5^ 


J    iJ  J 


£S^ 


^ 


f= 


1^ 


rr 


rr 


'or.  •' 


T- — ^ 


N 


w 


* 


i 


a^E 


fnf 
CORO 

Jy^    Sopr.  Alti. 


r^ 


dim. 


/f.    bopr.  Aiti.         ^^^^    ^ 


mm 


R 


■  *■'  J 


blon   vert  q\u  grim    - 


r 

pe. 


Sur  les   bords    du      clair  ruis 
Ten. 


■'  r 

le    hou 


^ 


Sur  les    bords    du      clair  ruis  - 
Bassi. 


^m 


le    hou  -  blon  vert  qui  grim 


pe. 


^ 


^ 


^^- 


N?  142.  "The  Tsar's  Bride"  (p.S47). 
N9142.  „La  Fiancee  du  Tsar"  (p.«7;. 

^Moderate,  j;  86.) 


N?  143  ''The  Christmas  Ntjorht/' 
N9l43.„La  Nuit  de  Noel'.'      ' 


147 


165|        Adagio.  J  -.  56 
Fl.I.  II. 


dim.    poro    a    poco 


*)A  defkut,  clochettes;  sur  le  celesta,  jouer  a  1' octave  inferieure,oniett«mt  la  premiere  note  IN.dn 
"*  Feed.) 


^A  Fl.picc. 


I 


g 


1 


1 


1 


Fl.I. ill. 


i 


W 


"^^ 


"^ 


//*;« . 


smorx . 


smorz. 


^Cor. 


ii     hi 


i 


i 


1 


^^ 


f 


i 


w^- 


T^ 


tsi 


8- 


£^^^E^^EE=^Et 


l-.fejf:jzffe 


I^^M^Ti 


Arpe. 

m 


Iee^ 


^E^ 


>   M    1 


M  I  M  r  t  jjzi:, j^Lo^^j^ 


di?n.   poco   a  poco 
4   .'iol.I.  *•  1^ 


I 


-tr 


^^ 


<9 


**     2VJ01.*' 

<2 — . ^- 


4r 


^=^ 


^^^N9  144.  ''Sadko"  (p.  121)  woodwind  alone). 

N?144.  „Sadko"    fp.  \2\\  instruments  a  vent  seuls). 

(Andante.  J:  72.) 


1 


if?  145.  ''Sadko." 

. ,N9145.  „Sadko!' 

l242jAndantino.  J  =  66. 


dim. 


N9  146.  ''The  Legend  of  the  invisible  city  of  Kiteshf' 
NO  146.  ^^Legende  de  la  ville  invisible  de  Kitej." 

[IS    (Larghetto  alia  breve.  J  =62.) 

Fl.picc. 


149 


150  iV?  i4t   "The  Golden  Cockerel^ 
.   N9147.  „Le  Coq  d'Or" 


[233] '  Allegro  alia  marcia.  J  =  120.) 


iV?  148.  "Russian  Easter  Fete"'  (p.H). 
N?148.„La  Grande  Paque  Russe"  (p.ii). 
objAndante  lugubre.  (J .- so) 


1 


I  N9149.  "The  Legend  of  Tsar  Saltan!* 

N9149.  ,,Legende  du  Tsar  Saltan'/ 

(Moderate  assai.  J:  84.) 


151 


129 


Lalumiere  augmente.  Les  rayons  du  jour  per9ant  les  brumes  du  matin  revelent  la  ville  de  Le- 

denetz. 


ty  V-c.e  C-b. 


^=^ 


PP 


N?  150.  ''The  Legend  of  Tsar  Saltan"  (p.;Si9). 
N9 150.  „L^gen(le  du  Tsar  Saltan"  (p.  219). 


PL*leo.«Fl.I 


m 


CampangUi. 


J    f    I'     ' 


i'""^'[iijjTi^  IgiFjfn  iLiutujIiiLrtiif 


^^ 


pisz. 


N9  iSl    "Antar" 

„  N?151.„Antar." 
m     (Allegro.) 


158 


154         N^  152.    "Antar: 

N9l52.„Antar." 
,pl,  (Adagio.) 


I 


N?  153.  ''The  Christmas  Night''  (p. 376). 
N9l53.„La  Nuit  de  Noel"  (p.37K). 
Andante, tenuto  ass'ai. 


155 


156 


p  cresc. 
(Un  soleil  rouge  se  montre  a  travers  lea  brouillards  places') 


2  Viol 


p  cresc 


Fl.picc. 


PiU  mOSSO.    i)l44.  (J:  72.) 


157 


158 

,Fi.piccr 


I 


A 


m 


Cl.picc.'^ 


n. 


i 


A-D    f 


Fag-. 


N?  154.  ''Sadko." 
N?154.„Sadkof' 


159 


Gloireau         bon      vieil-lard,     gloire      a      ce  bien   -  -    fai    -     teur. 


3  Fl 


N9  155.   "Servilia 
N9155.  „Servilia!' 

J  :  72. 


leo      N*^  156.  *'The  Legend  of  the  invisible  city  of  Kite sh"  (p.  252). 
N9156.  „Legende  de  la  ville  invisible  de  Kitej"  (p  2f>2) 


FI.I. 


(Andante  mistico.  J:«a) 


ritcn.  molto 


N9  158.   ''Ivan  the  Terrible,"  Act  J. 
N9l58.„La  Pskovitaine"  W  acte. 

""fi.  Adagio. 


161 


Je  voiis  par-leTai(lupreuxpa>la-din  Oo-ri-nia,  du    ser-pent  cru  -  el,  Tou- 


I 


^  poco  cresc.      W         ^n.  e  mor 
JlJ- ^ 


"W 


ze:=: 


poco  cresc. 


Tr-be. 


% 


jCE 


dm.  e  mor. 


J^-^        dim.e  mor. 


^^ 


162       ^  iS9.  "Snegourotchka"  (p.  £28). 
N?159.„Sniegourotchka"  (p.  228). 
(Allegro  moderato.) 


^^^ 


^ 


^ 


m 


i 


^ 


pp 


N9  160.  "Sadko"  (p.231) 
N?160.„Sadko".(p.28i). 

^;  (Allegro  non  troppo.) 


Les  devins  (mysterieusement) 


•^  Sur  lamer, sur     To-ce-an,    dansune       i      -  -     "le  mys  -  te-ri-eu-se        fleu- 


con  sord. 


'  A  I 


Les  devins.  i j 1 


j  k''    J      J  -^^  J^  I  J_  4viv^  J^  1 ,1  ^_  I  y  J'  J'  ^  j^ 


rit         la  for-ce  qui      ue    nieurtpas.        la         force 


ne-pui-sable 


N?  161.  "The  Legend  of  Tsar  Saltan"  (p.  so). 
N9161.„Legende  du  Tsar  Saltan"  (p.  80). 
Ob.  (Allegro.  Jiiae) 


168 


Platti. 


f^_f  r  f  _f_p  r  ■  gjLA^  e-jL^  ^  r  f  r  f  ^  f  f  r  ^  r  f  r  r  r  r  r  r  ^  n 


Ha  -  ha  -  hii  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha  -  ha! 


J?  162.  "The  Legend  of  Tsar  Saltan''  (p.92). 
N9l62.„Legende  du  Tsar  Saltan"  (p. 9a). 
Fi.  (Andante.  Jzea) 


N?  163.  "The  Legend  of , the  invisible  city  of  Kiteshi 
_   N9163.  „Legende  de  la  ville  invisible  de  Kitej" 

Ob. Allegro.  J-.\zo. 


IQA N9  J64.  "The  Legend  of  the  invisible  city  of  KitesH' (f.ioo). 
N9164.  jjLegende  dela  ville  invisible  de  Kitej"  (p.40o>. 


lis  sont  de  -  ve-nus  sol-  dais  du     Christ,    des  mar-tyrs  s^en-  ri-du  -   ra   Tar 


N?  165.  "The  May  Night/'  Act  I  (p.  105). 
[Eg  N9165.  „La  Nuit  de  Mai"  l«Jacte  (p.ios). 

T^Jv.  (Allegretto.) 


>  i/p 


N9  166.  ''Snegourotchka: 
N9166.  „Sniegourotchka!' 

Maestoso.  <J:  69. 

rI.II.  a  2 


166 


166       N9  167.  "The  Christmas  Night/ 

N9167.  „La  Nuit  de  Noel" 

\tit\r\     Andante.  J  =72.  ^ 


^S 


^ 


a 


-"pp- 


3  Fl. 


n.iil.     fi: 


*    I  "■  111- 


a 


a 


ft 


=1 


S 


=8= 


iX^sr. 


■pp- 


ob.  n. 


^ 


//l^Clar.  picc.(D) 


^2  Cl.(B) 


:^^^ 


TT 


N?  168.  ''Sadkor 
N9168.  „Sadkof' 
(Andantino.  J- =  66.) 

15 


167 


168 


cresc. 


T    dtm. 


N°  169.  "Sadko"  (p.  49^) 
N9169.  „Sadko"(p.492). 
(Andante.  J:  66. 


169 


170 


N9  no,  "SadkoP 

N9l70.„Sadko!' 
12441  (Andantino.  J.=  c&) 


171 


172 


N?  171.    "Antar! 
N9171.  ,.Antar 


N9  172.  "The  Tsar's  Bride"  (p.J852). 
N9  172.  „La  Fiancee  du  Tsar"  ( p. 252V 
01.  (Moderate.  J  c  9G.)  ^ ^  ^^^^ 


^ 


^ 


w 


i 


i 


ir — z? 

Fair 


i 


^^ 


'^^^^4^^:^,^^^:^-^ 


7- 


yVt »« . 


m  173. ''Sadko''  {f.ii2). 
N9173.„Sadko"(p.ii8V 
rVivace.) 

Fl.picc. 


ITS 


179       N?  174.  "The  Christmas  Night." 
P-J^  N9174.  „La  Nuit  de  Noel" 


ri.pi«e,«  »  ri 


N?  1759  "Vera  Scheloga"  (p.  49). 

N?175.a.  „La  BoiarineVera  Cheloga"(p.49). 

Ob. 

pten.  ass  at 


176 


Lento. 


0  quel    mal  -     heur'         Oi- seau^pourquoi     te  tai  -    re? 

Vera. 


Je  cherche  en 


vain,      ne  trou-ve  pas  ma    rou-te,  je.  ne  sais  plus  que  faire,      et  je  m?e-ga-re. 


N°  175?  Another  possible  orchestration. 
N9  175. b.  Autre  orchestration  possible. 
Vera. 


Lento. 


"  J^  J^  iiJ'  hi-l    »  J^  J^  J'  J^  Ji  I  p  iiJw   ■  V  JOi  J^ 


0    quel     mal  -    heurl  0i-8eau,poxirquoi  te        tai  -  re? 

rT\  t^n.  assai 


Je  cherche  en 


vain,      ne  trou-ve  pats  ma    rou-te,  je  ne  sais  plus  quefaire,      et  je  m'e-  ga-re. 


N?  m.  "Russian  Easter  Fete"  (p.  5). 
176    ^9176.  „La  Grande  Paque  Russe'*  (p.5). 
(Lento  mistico.  J  =84^ 


AViol.soli. 

J — 

P=^ 

p-k--n 

W=\ 

—f -f — 

^_L_XJ 

f  k,  1 

g 

■ 1 

'  i>  f  ►f  ■■  tt  r  i>  r  1*  1 

V-c.  «olo. 

-»»-r 

=S^H^ 

>        <t         ^^ 

■= 

dotce 

8F1 


Fl.l 


N9  177.   ''Russian  Easter  Fete"  (p.  9). 
N9177.  >,La  Grancle  Paque  Russe"  (p.9) 
(Lento  mistico.  J  =  84.) 

—  timile 


177 


^^^   N9  178,   "The  Tsar's  Bride"  (p.i-s). 
N9178.   „La  Fiancee  du  Tsar"  (p.  1-2). 
Jlj^Allegrro.  J  =  108.) 


N?  179.  ''The  Tsar's  Bride: 

NO  179.  „La  Fiancee  du  Tsan"        

S    (Allegro. J -- 108.)  ^   \^rf^    ^^^^ 


N9  180.  "The  Tsar's  Bride." 
N9180.  „La  Fiancee  du  Tsar." 
m    (Allegro.  J  =  102.) 

y    Fl.picc. 


179 


N9  181.  ''The  Tsar's  Bride!' 

180     N9181.  „La  Fiancee  du  Tsarf' 

[2]     (Allegro.  J  -.  102) 


N9  182.  "The  Legend  of  Tsar  Saltan.' 
N?  182.  „Legende  du  Tsar  Saltanf 
RH    Modei'ato  alia  marcia.  w  :  88. 


'l;  r  "T  "'c;  "t"t  "ur  '"lj  r 
Vr — ^      r  ^    r  r    r — r 


N?  183.  "The  Legend  of  Tsar  Saltan/ 
N9183.  „Leg:ende  du  Tsar  Saltan" 
Moderate  allamarcia.  J -88. 

Fl.picc. 


181 


<?/•         y 


N°  184.  "The  Legend  of  Tsar  Saltan. 

1^2      N9184.  „Legende  du  Tsar  Saltan" 
ljS[      Allegretto  alia  marcia.  J  =  96. 

f  I  plcc. 


J33- J J5L » i^p   .  n\m .JD.     IT1»    m  .jn.  n\m      J!L  P    f     J^f    f^f 


J 

N?  185.  "The  Legend  of  Tsar  Saltan." 

N9185.  „Legende  du  Tsar  Saltan!' 
Allegretto  alia  marcia.  J  =  96. 

Fl.picc.ezri. 


r  r '  r    r 


n  areata 


N?  186.  "The  Legend  of  Tsur  Saltan. 

N9l86.„Legende  du  Tsar  Saltan." 
3   (Allegretto  alia  marcia.  J- 96^ 


183 


^    N9  187.  "The  Legend  of  Tsar  Saltan"  (p.soey 
N9187.  „Legende  du  Tsar  Saltan"  'psoei. 
4Cor(Allegro  tempestoso.  J- 132) 


-va  ge tren   -   te     -     trois       puis  -    sants  gu»T    -      j-rts 


^^^  N9  188.  ''The  Legend  of  Tsar  Saltan"  (p.  4f€). 
N?188.„Leg:ende  du  Tsar  Saltan"  (py*i»i). 
(Allegro  animate.  *-i44.y 


/ 

Tr-bni.  e  Tuba 


m^ 


i 


i  ^ 


rmrm 


i  n  HJ 


J    i 


A- 

Timp 


N?  189.  "The  Legend  of  Tsar  Saltan"  (p.  367). 

N9189.  „Legende  du  Tsar  Saltan''^  (p.367). 
(Allegro.  J- 132.) 


185 


186 


Cor. 


Tr-bni. 

eTuba.    K     ^       » 


f- — -^  r     r 


Timp. 


Cassa. 


ir 


Viol.  I  e  II 


N9  190.   "Ivan  the  Terrible,"  overtun. 
N9190.  „La  Pskovitaine"ouverture. 
la  (Allegro.) 

^Cl.l(A).Sol( 


187 


N?  191.    'Ivan  the  Terrible,"  overture. 
^     N9191.  „La  Pskovitaine"  ouverture. 
(Allegro)    —5, 


N?  192.    'Sheherazade"  ($.5) 
188      N9l92.„Sheherazade"  (p.S). 
(Allegro  non  troppa  J..56.) 


i^?  193.   "Sheherazade"  (p.a) 
N9193.  „Sheherazade"  (p,8). 
A   ^^  CAlIegTo  non  troppo.  J.-56) 


N?  194.  ''Sheherazade"  (p.  19). 
N'M94.„Sheherazacle"  fpiw). 

[S]     ^Allegro  non  troppo.  d.. 56.) 
^,         ''c-- — —————— — ^  tf 

Fl.picc.    *£^  >♦• 


189 


^?  195.    "Sheherazade"  (f.  38-89). 

190   N?195.„Sheherazade"  (p. 38-39). 

(Allegro  non  troppo.  d.-56) 


N?  196.   ''The  Legend  of  the  invisible  city  of  Kiteshr 
N9196.  „Legende  de  la  ville  invisible  de  Kitejl' 
(Poco  larghetto.  J -60.) 


IM 


192       NO  igf   rrj^  Legend  of  the  invisible  city  of  Kitesh.' 

N?l97.   „Legende  de  la  ville  invisible  de  Kitej!' 
(Poco  larghetto.  J-6o) 


NP  m.  'The  Legend  of  the  inmisible  city  of  Kitesh!' 

N?198.  jiLeg^ende  dela  ville  invisible  de  Kitej" 
(Poco  lararhetto.  J. 60. 


193 


N9  199;  'The  Legend  of  the  invisible  city  of  Kitesh*' 

N9199.  „Legende  delSi  ville  invisible  de  Kitej" 
(Allegro.  «^.120.) ^  ^ 

iV*i"T  I  r  f  r  J  I  i;_^'~rji  1 1  i   i  i"Tif^ 


N?  200.  "The  Legend  of  the  invisible  city  of  Kiteshi 

194         N9  200.  vLegendc  de  la  ville  invisible  de  Kitej'/ 
[7q1  (Allegro.  Jriao.) 


i^?  ^i.  ^T^te  Legend  ofihe  invisible  city  of  Kitesh." 

N9  201.  „Legende  de  la  ville  invisible  de  KitejV 
(Allegro  J-120J     


N9  202.  "The  Golden  Cockerel''  (p.  298-299). 

N9202.„Le  Coq  d'Or"   ^p.  2i<H-y9^,. 
(Allegro  alia  marcia.  J-120.J 

Fl.picc.  ^ 


195 


^96    ^  ^^  "The  Qolden  Cockerel^*  (p.  SOB-ssol 
N?203.„Le  Coq  d'Or"   (p.ao9-8io>. 


ri.pico 


N9  204.  ''Snegourotchka''  (p. £67). 

N?204.  „Sniegourotchka"   ip  2K7.. 

(Vivace.  J-I60.) 
Fl.  pice 


197 


N9  205.  "Sadko." 
198        N9  205.  „Sadko:' 
I173]  Allegro.  J..66. 
I!"!. piece  2  Fl. 


N?  206.  ''Sadko." 

. ,   N9  206.„Sadkof' 

11771    Allegro.  d..G6. 

Fl. piece  2F1. 


199 


200  N^  207.  ''The  Christmas  Night." 

N9  207.  „La  Nuit  de  Noel!' 
|184|  Allegro  non  troppo,  alia  polacca. 


ij^lhi 


pMj^^^^i^i^^^. 


ir 


201 


•^  n,r  cresc. 


N?  208.  ''The  Christmas  Night." 
202         NO  208.  .,La  Nuit  de  Noel'.' 

|lg(-|   (AUegTo  non  troppo,  alia  polacca.j 

Fl.piccjB-  a  ^    a      £     #      ^     ^f^ 


Bassi  chaai-tez,  trom-pet  -  tes,      flu  -  tes 


dan3       la  nuit   ou    point     l^u- 


;203 


m  209.  ''Sheherazade"  (p.  123) 
N?  209.  „Sheherazade"  (p  123.) 
Andantino,  allargando  assal. 


205 


I.  Solo 


206 


colla  parte 


N?  210.  ''Snegourotchka"  (p.  176-177). 
N9  210.  „Sniegourotchka"  (p.i7e-i77.) 
Risoluto  ed  animato.  <^=  loo. 

Fl.e  Ob. 


'^  fcrr^'  ircrr*"  ir* "  r^i-^^ 


err  crrri; 


Ar-j  ^JnJi,^j  I J  ^^^1  ^i\,^  ^  ^  ^p  i^jb^  ^ 


poco  af>oco 


■dimr 


g__oiOier,      la       fa   -    rou  -  che     cla  -   nieur    de  la  guerre  et      de       la  ba 


tail 


208 


N?  211.    ''Snegourotchka"  (p.  179-180). 

N9  211.  „Sniegourotchka"  (p.i7y-i80). 

(Animate.) 
a2 


^r  -r 


C1.(A) 


i^7/li  ^  u 


4 


r  "-f     r  r 


ii^^i^M 


i 


f^ 


Faa 


^ 


» 


^' 


a^2 


f.  Cor.  „  o  ff 

I  i  '"'■II 


^^ 


r '  r  Cj  r  > 


^ 


J  J-IJTl 


J  or  I 


Tr-be.(B) 


-^^ 


I^M 


I 


J  JPJ   j|j  jj 


f 


^J  .a^      -^J 


^ 


^ 


^^=^f 


^ 


ff. 


^^ 


^ 


Tr-bni.  e  Tuba. 


Timp. 


^ 


^ 


Ten.  I 


^ 


^^-£^ 


^ 


^ 


Z09 


ith'^f  r  ^>  ^f  r  ,  rr7  r  r  f 


^^ 


,^f  ^f  f  f  f  f 


»ii  r  r  r     r  ^j 


cresc. 


Y'T  r  r  r  r. 


5=» 


Cl. 


''=  i_i!Lii. 


cresc. 


^ 


rr  r"  r 


I  r  Lf  r 
r  r  f\  \ 


h^iif 


S^ 


Fag-. 


a 


^m 


rW 


210 


N?  212.    "Ivan  the  Terrible,"  Act  U. 


N9  212^.  „La  Pskovitaine,"  2^®  ax:te. 
[l9|  Allegro  moderato  maestoso. 


N?  213.   ''The  Legend  of  the  invisible  city  of  Kitesh: 
N9  213.  „Leg-ende  de  la  ville  invisible  de  Kitejf 
2&4l   Andante  non  troppo.  (J  =  m.) 


211 


Du  fond  de  la  clairiere  marecag'euse,toute  fleurie,  s''avance^comme  sur  la  terre  ferme,nma^  du 


prince  Vsevolod  entouree  d'une  lumiore  doree.  II  louche  a  peine  le  sol 


212 


218 


C.lngl 


^ 


***   N?  214.  "The  Legend  of  the  invisible  city  of  Kitesh' 
N9  214.  „Legende  de  la  ville  invisible  de  Kitejf 
fSjg]  Andante  non  troppo.  J=t»'. 


F^vrQoia  et  Tapparition  sortent  par  le  marais,  effleurant  a  peine  le  sol. 


PP9     3 


2\?  215.  "The  Golden  Cockerel." 

N9  215.  „Le  Coq  d'Or." 
(Moderate .  J=  loo.) 


21S 


pizz 


,«i  I  ■'^^Vy»3j»»J  iJvvJJiyvJ  iJv   »J    J»»JiJ»  »JJ»  »  J   ,  Jv  ¥J#»¥3i  j»  »jJ¥  »  J 


H^44*m4.4H  H44H   » 


iy!"  2lV\negourotchka"  (p.l4S). 

N9  216.  „Sniegourotchka"(p.i48.) 

(Animato.  W:i26.) 
)b.i 


He  bien    pre  -  nez,       sivousrfavezpas  hon-te    d'etre enriohis pax  lemalheurdesautrea! 


216  iV?  217.    ''Russian  Easier  Fife.** 

N9  217.  „La  Grande  Pique  Russef' 

iFl. 


[^Triang. 


r^ 


da  Timpano 


r — r 


Piatti. 


coUabacchetta 


fiijj    ■. i 

J3P 

-B = 

-5} = 

-'i = 

-^ = 

1#=^ — = — 

<  Arpa.^ 

/«f-^ = 

r 

-« — = — 

♦ 

p 1 

-f = 

-3 

P      _ 

*/ 

¥=f=^^^ 

P^" 

f  F  F  F 

P^" 

_■ — 1 — I — ■— : 

H4=^ 

Viol,  aemprep 
6%. 

1    1    1. 

#^'i     ■ 

f=^ 

\\     ■ 

=  $=?= 

-?         ■ 

=«=*= 

5? — F 

V-le. 

-f — F — 

•          • 

-f ^ 

— f  «  p 

r  j>  r  f 

r  r  >  r 

r  f-  r  r 

*^^^^— ' if 

aewfr^p 

Mil  r    -- 

-0 « 

?    ?5 

^^  '  r 

T — T — 

1       ' 

_i 1 

— « p 

^        /pirr.. 

P 

v 

p 

L^.. 

i' 

217 


N?  218.  "The  May  Night"  (p.i40). 

218  N9  218.  „La  Nuit  de  Mai"  rp  140.; 
Allegro  vivo. 

2  Fl.picc 


N?  219.  ''The  Legend  of  the  irwisible  city  of  Kitesh'. 

^  N9  219.  „Leg-ende  de  la  ville  invisible  de  Kitej!' 
-^T-(Moderato.  J=m.) 

ttfljfl  Fag.IIeC-fa^. 


N9  220,  ^'The  Legend  of  the  invisible  city  of  Kitesh'.' 

N?  220.  „Legen(le  dc  la  ville  invisible  dc  Kitej!' 

('Moderate.  J;  92.) 
j.n. _a2     |«f^ 


219 


N?  221.  "The  Legend  of  the  invisible  city  of  Kitesh." 

220  N9  221.  „Legende  dc  la  ville  invisible  de  Kitej." 
rrj=i  ( Moderato.  Jzs-^.) 


N9  222.  "Snegouroichkar 
N?  222.  ..Snieg-ourotchkal' 

IB4I  Lento.  J  =  69. 
ri.  ptcc 


221 


doleiaiimo 


FKplcc 


N9  223.   ''Snegourotchka/' 
222  N9  223.  „Sniegourotchka'/ 

12751  Adagio.  Recit. 

Cor. 


<    n^^  n  ^^J\}^^^ 


A-vec    le   jour  va  com-men-cer    le  regTie 


"•^'w'  "*"  y    "  PourQuoitesBleurs  et  que  veux 


Du  dieu  Ya-ri-  lo,  de  I'e-te  de  flamme 


N9  224.  "The  Legend  of  the  invisible  city  of  Kitesh! 
N9  224.  „Legende  de  la  ville  invisible  de  Kitej." 
Lento  mistico.  J:6o. 


223 


N?  225.  ''Sne^ourotchka/* 

224      N9  225.  „Sniegourotchkal' 
, ,  Adacrio  non  troppo,  lento  e  cantabile.  ^z  7a. 


le       8o-leil  sur   lacol-li-ne     de     -     crort   len  -  te_ment,  pa     -      lit     et 


.raeurt 


,  v-i 


N?  226.  "The  Golden  Cockerel." 

sss   N9  226.„Le  Coq  d'Or!' 
LaiteinedeCh^  Lento  non  troppo. 


Ah!. 


Viol. I.  e  II 
unis.      fT\ 


Viens,  la    oal  -  me  null  re  -  pe  -  te       la chan-son descoeurs  en 

ptzz. 


'PifctU. 


Allegro  moderato .  J  :  io4 

■+- f *-H— 


flS-te.      Tiens,boisce      vin     tout     pe-til-lant,  o'est  le     sang  .^ de       lX)-ri-ent'. 


N9  227.    miada,"  Act  n. 
N9  227.  „Mlacia;'    2"1-  acte 
[li]    (^Andante  non  troppo.) 

Loumir. 


225 


(muta  sol  in  fa|) 
Loumir 


dolce  colla  parte 


Loumir 


836       N?^228.  "The  Legend  of  Tsar  Saltan." 
N9  228.  „Legende  du  Tsar  Saltan'.' 

Andante.  J=  68. 
Fi. 


BupalaiB  sort  la  princesse  Cypnejdontlasplendeur  eclipse  ceile  du  soleil.  Tous  protegent  leurs  yeux 
de  la  main.  "" 


zz'y 


228 


N?  229.  ''The  Golden  Cockerel"  (p. -227). 

N9  229.  „Le  Coq  d'Or"  (p.227.) 

Fl.picc . 


Z'.^ 


230 


fij.£>^3mi,^    'ig  <^i    I 


Cor.  I. 


PP 


tou      -      jours,        sans  tre 


Celesta. 


'1^4  p  V     I    ^ 


^^ 


Arpa.  « 

0 


H         V 


;    ^Mr   if 


^ 


JPl  pico 


N9  230.   "Russian  Easter  Fete." 
N?  230.  „La  Grande  Paque  RusseJ' 
Sostenuto  e  tranquillo.eJzise. 


231 


238         ^°  2^i-   "^^  Legend  of  the  invisible  city  of  Kitesh'.' 
N9  231.  „Legende  de  la  ville  invisible  de  Kitejl' 
12971      (Andante.  J  =  48.) 

Fl.  piece  Fl.L 


Arpa  I. 


Spectre,      tu  parais  porter     les  traits          deVse-vo  -  lod  le  che-va 
8 


div. 


2BS 


Flpicc 


cresc.  poco 


284    N9  232.  "The  Golden  Cockerel"  (f.  282). 
N9  232.  „Le  Coq  d'Or"  (p.a82  ). 
(Allegro  assai.  Jzisz.) 

Fl.picc 


N?  233.  "The  Golden  Cockerel"  (p.l4ti}. 
N9  233.  „Le  Coq  d'Or"  (p.i4i ). 

Moderate   (alia  breve),  '^.l .  so . 
api  picc. 


N?  234.  "Sheherazade"  (p.  61). 
N?234.  „Sheherazade"  (p.ei). 
(Vivace,  scherzando.  J  •  132  ; 


285 


N9  235.   "Snegourotchka"  (p.  807). 
N?  235.  „Sniegourotchka"  (p.307). 
Moderate.  J-re. 


/J;P'««-|t^ .  I,, 


La    vision   disparait;  a  sa  plaoe  on  volt  un  tronc  d'artre  surlequel  deux  vers  luis&nts 

p.^brillent  conime  line  paire  dyeux 


236 


N?  236.  ''Snegourotchka!- 

N9  236.„Sniegourotchka." 
(Larghetto.  J-^ss.) 


Sniegourotchka. 
P 


rr  pir^pr  <  pir'r  p«r  pir   r^<-  ■ 


3Ier  -    ci du  fond  du  cceur         pour  -  tant d'ar-dent  a  -  mour — 


m 


1^ 


m 


Arpa. 


PP 


m 


m 


Viol.I  solo. 


f  rn-fif  t  f  fif^      ^-  if  f 


PP 


Viol.II 


¥»  j  .  ^    i. 


dlv.  arco 


trem. 


I.  J'^'' 


^^ 


V-le. 

1^ 


^^ 


^P 


^ 


V-c. 


^m 


PP 

pizz. 


=^^^ 


V  V    i' 


PP 


2C-b.  soli. 


N9  237.  "The  Chrism  tis-  Night''  (p.Si^). 
NQ237.  „La  Nuii  de  Noel"  (p.312). 


237 


N?  238.  "The  Golden  Cockerel"  (p.  19). 
N0  238.  „Le  Coq  d'Or"  (p.i9). 
(Andante,  ^-.tz) 

1i  A  Wl.  ptc»^ 


ggg     N9  239.    ''Ivan  the  Terrible"  Ad U. 
N?239.  „La  Pskovitaine,"  2"ie  actp. 


iV?  240.  "The  Tsar's  Bridef 
fj^  N9240.  „La  Fiancee  du  Tsar." 

' — 5'j,  (Allegro  moderate.  J  mis.) 


i  nJ^  J^  |t|J  /  i 


Oiii . . 


elle  est     belle 


rose  et blanche  de     taint.. 


N?  241.  ''The  Tsar's  Bride''  (f.2io). 

N9  241.  „La  Fiancee  du  Tsar"  fp.^io). 

(Allegro  moderato.  J.  iia;^ 


2:^9 


N?  242.  "The  Tsar's  Bride." 
N?  242.  „La  Fiance'e  du  Tsar." 

^Lento.  J- 56. 


N?  243.  "The  Tsar's  Bride." 
N?  243.    La  Fiancee  du  Tsar. 

(Lento.) 


N?  244.  '^Snegourotchka." 
^^^0    N?  244.  „Sniegourotchka!' 

ISy   Andante,  molto  sostenuto.  J«  i 


I  N?  245.  "Sne^ourotchka.*- 

I  l313l  ^^  ^^^  „Snieg:ourotchka!' 
^^-;:ji„ (Andante.  J.«».) 


241 


On  rayon  brillaot  perce  les  brume  matinale  et  tombe  sur  Sniegowrotchka. 


„    N9  246.  "Serviliar 

^2    N9  246.„Servilia!' 
[g25!(Lento.  J=6o.) 


N9  247.  "The  Tsar's  Bride" 

m  247.  „La  Fiancee  du  Tsar" 

(Adagio  J 


248 


^  N?  248.  ''Russian  Easter  Fite." 

W  248.  „La  Grande  Paque  Russe!' 
P]  (Andante  lugiibre.  «J=6o.) 


244 


N?  249.  'The  Legend  of  the  invisible  city  of  Kitesh: 
N9  249.  „Legende  de  la  ville  invisible  de  Kitej!' 
E  (Larghetto  alia  breve.  ^-Irea.) 

•  -  Cl.l.U   (A)  ^-' 


245 


N?  250.  "The  Legend  of  the  invisible  city  of  Kitesh.' 
246    N?  250.  „Legende  de  la  ville  invisible  de  Kitej!' 


Allegro  .^Jr  188 


Com    -    me    monte  au      eiel     le   tour-bil-lonl    La  pous-sie  -  re     voi  -  le       le     so  -  leil. 


N?  251.  '^Spanish  Capriccio/' 
N9  251.  „Capriccio  Espagnol" 


Met  Sit  mo 


•^  / 


N^  252.  "Sadko" 
N^>252.  ,,Sadko:' 

12641  (Allegro  non.troppo.  J- 112.) 


Ob.I.Solo.y 


247 


PFP 


N9^  253.  ''The  Legend  of  the  invisible  city  of  Kite sh'. 
N9  253.  „Leffende  de  la  ville  invisible  de  Kitej." 


Ob.  I 


Solo 


N?  254.  ''The  Tsar's  Bride"  (t.ZAe'H^r}. 
N?  254.  „La  Fiancee  du  Tsar'*^  (p.  246-247.) 
(Moderate.  J  =  »«.) 


TVr  255.   '"Sheherazade,"  2^  movement 
N9  255.  „Sheherazade;'  2"}"  mouvement. 
[jpi  (^Aiidantino,j)OCO  animate.) 


249 


N?  256.  "The  Tsar's  Bride/' 
N9  256.  „La  Fiancee  du  T^ar " 
Molto  andante.  J  =  eo. 


A  Nov-gDrod^ansun  jardinsu-per.be,  sous  les  om-bragesnou8VHion8,en-sein-ble 


N?  257.    ''The  Tsar's  Bride"  (f.  186\ 
25qN'^257.  „La  Fiancee  duTsar"  (p  i«<« ). 
(Andante.  J  =  9s.) 

sirtngentio  foco  a  poeo 


poco 


m  258.    ''Mlada'/  Act  lU. 

N9  258.  „Mlada;'  3"1«  acte. 

IliJ  Moderate,  poco  acceler. 

Fl.  pice 


I 


r  ^^ 


(non  stacc.) 


mi~n^ni 


poco  cresc. 


jjj.;j'jJJ3 


m 


251 


pqr 


i^^p 


16  Viol,  n  div. 


2>P 


poco  cresc. 
(noil  stacc.) 


^ 


^^ 


W 


*ff 


pp  poco  cresr. 


^ 


ttf'tU  ::r 


^^«ffr"fr7»fg 


***  ttt- 


12  V-c.div. 


pizz. 


/?oco  creirc. 


^ 


^^ 


r.T  .r 


m 


'ir    v«r  ^ 


H  C-b.div. 
arco 


^oco  cresc. 


> 


^j? 


^rt 


^ 


^ 


#^ 


/oco  cresc. 


252 


Fl  pice. 


Con  moto 

PI.  pice. 


253 


I 


254 


.V"  259    "Mind a:   Act  III 
N'>;<J59.  „IVIlada:'  3"    acte. 


[19!   Andante. 
Fl  I. 


1.1.  J. 


:i*?!auij- 


y/) 


M.  11 


^^ 


JS 


^^^ 


i 


FP 


% 


Fl  c-alto  '(Ji 


jj^'  5fe 


^^^ 


;vv^  ^- 


j?p 


i 


Oh. I. 


^^ 


?==^ 


PP 


Ob. II. 


^^ 


^^ 


I^J^'lr'rjC   \ 


pp 


Ob.  c  -alto. 


m 


fij-  i' 


?^^^ 


I 


PP 


3  Clar.  (B) 


^M^^ 


te 


^^ 


3 


3  Fag-. 


pp 


^ 


I 


y^i— HH 


pp 

3  Cor.  (F) 
con  sord. 


go- 


^^ 


» 


Tr-ba.picc.(Es) 


^^ 


/?P 


i 


Tr-ba.lKB) 


^1 


£ 


^^^ 


/?P 


i 


Tr-ba.c  -altaCF) 


^^ 


L"  ombre  de  Mlada  (mi  mi  que")  :..Ce  sont  les  voix  prophetiqxies  des  esprits;  ecoute-les!" 

Voix  des  esprita  lumineux  (derriere  la  scene)  

Coro.12-16  Soprani. 


j-4-/^ij  J'l^J^Jm^l  y\  ;v  p I  r~pv^*' U'  "i-J'T  ''Hi't  ^ri'*'! 


0  Ya-ro    -    mir! 


Pour  toi  bien  -  tot  _ 


8on-ne-ra  I'heu-re. 


iJo5 


Poco  acceler. 

■  ■  p' 


poco        a  poco 


25& 


Fl.  pice. 


N9  260.  "Sadko:* 

N?260.„Sadko" 
, Andantino.  J-  --  ee 

(MS  1^*1 


257 


'W~^- 


N9  261.    "Sadko." 

;i58    N?261.„Sadko!' 
Moderato.  J  =  96 


Piatti  e 
Tam-tsin 


r 


Les  eaux  du  lac  3'  agitent;  des  profondeurs  surgit  le  Roi  des  Mers 

>.^A^A-k< — kfc- — -Lfe — V^< — Vp:<A-^< 

■Al 1       p^      '      P  P^ 1       p*  '       p' P  P 


ir 


VP 


div. ' 
I. 


^>eW*ti»- 


nfv'^tf^t 


crresc. 


^ 


m^ 


p^ 


^ 


S 


-^ 


P 


^ 


^ 


IeI 


^ 


^ 


p 


p 


% 


m 


^ 


f 

\jsr 


-*^ 


div. 


V-15. 


^^P 


41 


i 


M 


A 


* 


* 


cresc. 
unis 


^ffi 


£ 


S 


r 


a 


^ 


;i 


i 


# 


e 


C-b. 


S 


s 


i 


^ 


N?  262.    "Aniar 

N9  262.  „Antar:' 

(Allegro  risoluto.) 

FLpicc. 


259 


260 


N?  263.  "The  Golden  Cockerel.'' 


N9  263.  „Le  Coq  d'Or. 

-^(AllegroJ 


eresc.  molto 
N9  264.   "Pan  Voyevoda,"  introduction  (p.  3). 

N9  264.  „Pan  le  Voievodel'  introduction  (p. 3). 

(Allegretto.  J.:  bs) 


2ez      ^  ^^  "'^^  Legend  of  Tsar  Saltan. 

N9265.  „Legende  du  Tsar  Saltan!' 

(J  set) 


rrrrr^rrrrrr^t 


rrrfrrrrrrrrrrrrfj 


-©-*- 


N9  266.  "The  Legend  of  Tsar  Saltan." 

N9  266.  „Legende  du  Tsar  Saltan." 
EHJ  (Moderato  assai.  J  :  %\  ) 

Fl.picc.  .^^. — — — ^ . ^^ 


268 


N9  267.  "The  Legend  of  the  invisible  city  of  Kitesh"  (p.  4S8). 
N?  267.  „Legende  de  la  ville  invisible  de  Kitej"  (p.488;. 
(Moderato.  J  -  as.) 


264      N?  268.  "Kashtche'i  the  Immortal" 

N9  268.  „Kachtchei  Immortel." 
im  (Allegretto  mossx).  Jiize.) 

.Cor.  inpl. 


>  Qj^j^j  Coro     tdansles  coulisses)  La  tempete  commence 


Gronile     et   souf  -  fie,       tour-bil  -  Ion,  cou  -    vre    de      tes       blancs  flo-cons 

Arpa     (harpcs  eoliennes) 


►Cor.  in  pi 


N?  269.    ''Kashtchei  the  Immortal/' 
N9  269.  „Kachtchei  Immortel." 
[^HCAllegretto  mosso.  J:  126.) 

Fl.picc 


265 


mf 

Arpa(harpe  eolienne) 


(La  scene   dircouvre  de  nuages;furieu8e   tempetei  nuit.) 


V-le. 


m 


^m 


^  ttJ.     i^  ^ 


^M 


^^s 


^m 


^ 


^m 


^m 


:^ 


C  b. 


J|.3ZJ|. 


m 


N9  270.  'Idlada"  (p.iee) 

N9  270.  „Mlada"(p.i66). 
3F1.        fr ^     tr 


267 


268      N9  271.  "Tne  Golden  Cockerel." 

N':>271.  „Le  Coq  d'Or." 
3^<'Moderato.  J:ioo.) 


N9  272.  "The  Legend  of  Tsar  Saltan"  (p.  179). 

N9  272.  „Legende  du  Tsar  Saltan"  (p.i79  ). 

( Maestoso,  (i:  63  j^ .  ^,_ — 

H^QFl.picc.  ^^^  ^^^-pc  riten  pace. 


N?  273.  ''The  Legend  of  Tsar  Saltan"  (p,  269). 
N9  273.  „Leg:ende  du  Tsar  Saltan"  (p.  2b9). 

(Moderate  assai.  lf«') 

^l.pJcc. 


269 


270       ^  274.  ''The  Legend  of  Tsar  Saltanf 
N9  274.  „Legende  du  Tsar  Saltan!' 


(J    I    .      gg    ) 

(Moderate  assai.  J.)" 


m 


^m 


I:    'fi    fflTJ^ 


Cor.  ingl 


ff  since. 


^ 


p-j  t  t  j7  r^ 


^^ 


^ 


ff 


,   Cl.(B)  .  •'*' 


<9'  f^'  g'  f'"  » F  »  P=$?#= 

p.   \'   Y   \'    ^^x\\ 


Cl.basso(B  ") 


Pi 


r  J^^'i  f  J 


J  r  r  J 


w — r 


ff 
Fay.       a  2 


^ 


'.^^^^ 


Ji  Ji  I  J  j 


fj 

L/ACor.  MI. 


i..JJ-Mf  fJ_L^B 


jjf]jjnfr7n 


|s»'iii.iy^ 

^T^-bc.(B) 


Vie 


^ 


f 


^    Vc.        / 


^ 


^ 


f^ 


'""j.  Jl^i   Qk  J? 


C-b.       / 


/ 


-:»T- 


N9  275.   ''Pan  Voyevoda/' 
N9  275.  „Pan  le  Voievode." 
(Larghetto,  J.  =  7e.) 


271 


272 


Quasi  irillo. 


N?  276.  ''The  Christmas  Night"  (p,3lo). 
N9  276.  „La  Nuit  de  Noel"  (p.310). 
(Allegro  assai.  J  .  les.) 


278 


^'       gUssando  (sons  harmonigues 


274 

N9  277.   ''Sne^ourotchkar 

N?277.  „Sniegourotchka!' 
[45|   Adagio.  J:  50. 
.or.  I. 


soir,      le     soir  je       chante   -    rai  _         Jechante-raipoure-g-a^v-er  laso-li  -  tude 


Poco  piu  animato. 


les      plus  guis  de       mes re-  frains.  Le  beau     Lei    males   ap-pren-  dra. 


N?  278.  "Sadko.' 
N9  278.  „Sadko'.' 
(14 3i  Adagio.  J  =  56. 

f\ 


275 


poco  cresc. 


oya     N?  279.   "Snegourotchka." 
N9  279.  „Sniegourotchka!' 

(Allegretto  capriccioso.) 


string. 


Voi  -  la  icon  reve et  mon  bon-heur.je    ne    piiis  vi- vre sans  chan- sons. 


uJiP.i^P  sT iPypp 


Chan4«r,voi- la    monseulbonheunma  joi  -        -  e! 
pizz.  arcccN 


N?  280.  "The  Tsar's  Bride." 
N?  280.  „La  Fiancee  du  Tsar." 

(Larghetto  assai.  J=60)     ^^-— r==^r^i  f= — ni    r — i::::^  , 


277 


±^ 


dim. 


N?  281.   "Sadko''  (t.516) 
N9  281.„Sadko"  (p.sie). 
( Passionate V^  -.  126.) 


27» 


•  ^A  Fi  ii.ni. 


Etsousles    ri  -  ves  es- carpees  je  dor-mi- rai     presdelai-me-    Fi  -  dele      amona-mourjusqu'' 
dlv. 


poco  creac. 


g_^Uarsrando. 


la  nndes  temps.      Oh!      tes  cha;  ts   di  -    vins    ont  se-dmt  mon    c(Kur,  ra  -  vi  inon  arae- 


„co  N?  282.  "The  Tsar's  Bride"  (p. 361). 
N9  282.  „La  Fiancee  du  Tsar"  (p.aei). 


Cl.(B) 


TLarghetto  assai.) 


281 


N?  283.  ''The  Tsar's  Brider 
N?  283.  „La  Fiancee  du  Tsar." 
(Larghetto.  ^ .  9Z) 


Cl.(A) 


Pourcesbons  voeux    cent      fois mer-ci, 

Domna  Sabourova.  _ 


'n'  <■  V  »   Jm  J'  -I'  -1^  -I       *    I 


Bon-  heur  aux    a  -  mants! 


Douniacha 


Dieu  vous  ac  -    cor    -     de         joie- 
Sabakine. 


Bon- 


Que       Dieu  vous  don  -  ne        d'etre       heu  -  reux,     sans 


Viol  P  cantabile 

n. 


■TTTH^^ 


282 


joie! 


So-yez     hen  -  reiix.  toiuours   u    -    iiis. 


jV  Lilt 


WW 


fois         mer-ci. 


tre    -  -   ve- 


Dieuvous    ao  -    oor-de      bon-heiiret     saii  -  te, 


n.ii 


mm 


283 


Jlpicc.^ 


285 


ifP 


286 


Fill. 


N9  284.  ''The  Tsar's  Brider 

N9  284   „La  Fiancee  du  Tsar. 

S^  (Adagio.  J.44.) 


287 


All        quels  jours  heu-reux.    quy  nous  e    -    tions  gais,     quaiid  thaque 

J^A  V|'<>^'  IJ-     cop  8ord . 


ar  -    bris-sean  a'in-cli-naitvers    nous  _  quand     les'  che  -    nee  verts 


288     ^o  285.  ''The  Golden  Cockerel 
N9  285.  „Le  Coq  d'Or!' 

|l35l  (Andantino.  J  =  76.) 
I    Cor.  ingrl 


PP 

Cl.basso(A).  , 


^    'til 

PP 


m     .  m 


^ 


3^ 


^^ 


^^ 


m 


mUUL 


Fa&. 


s 


'^'ll"  ■■  jii  ^ 


3J 


a 


TT 


^ 


ftt 


'J^pt 


fe 


S 


Tamburo 


^  ifr*       .  *• 


PP. 
Tambno. 


P''^pp^''p'p''^pp^  •'  P'P'^PP^>  'p"Pp^  ^ 


rrr^ 


i 


*# 


La  Reine  do  Chemakha.        dolce 


Tffp  Pif  prrrrir  p^^pnpir  f^^ 


Vieiit-oii  lattendre  a   la    f«;  -  ne-tre,  loeii  at-ten-tif,     le  coeurtrem- 


Arpa./»p 


ni^  ^  *  J  HiM  t  y  t  J  Hit  J  t  y^  .s 


,   I. 


pizz. 


vie.      pizz.      ^^^ 


V-c. 


^ 


^ 


^^ 


^m 


289 


ms^J^^t 


p^^pp>^[>'p^''pp^< 


m 


LR.d.Chem. 


-blant?        A   pei-iie  Ta-t-on  vu   pa- rai-tre,  sait-on  charmer rin,ureux  a  -    mant? 


290  N°  286.  "The  Tsar's  Bride." 

NV286.  „La  Fiancee  du  Tsarf 

(Lento.  J. 63.) 

J  aeceler^poco   a  poco 

F!. 


Lioubacha. 


'•''r  r  pir^t  ir  r  pirl!^> 


(EUe  pleure) 


cr«8C. 


Ah!    tout  pour  toi- 


oui,tout  pour  toi! 


291 


^       ff 


S92  iV?  287.  Z'Snegourotchka." 

N?287.  „Sniegourotchka!' 
[SI  (Allegrro  moderate.) 

Jf.   Cl.(A)  '' 


Le  Printemps 


,/     V-c 


Dans  oes    fo-rets        ou       I'ombre  est   e  -  ter-nel  -  le, 
V-c.e  C-b.'  pizz. 


au  plus  pro -fond    dee 


^ 


^^ 


^^ 


■^F 


^A^l 


Le  Pr. 


^'^^i'j    oip- J^J^-i'r  ^piP'U  V^^J^J^ 


bois  toujours  gla-oes, 


le     pere  en  sou  pa-lais       re-tientma  fil -le^     je    lavoudraisheu- 

colla  parte 


sf  pp 


^<>  J^  >  ^^  p  p  ^p  I  p-  p  pM"  P  P  N  pp>    *  'r 


-reused    je      Pa -do -re,        II       faat  pour  ramourd'el  -  le    me  sou-mettre 


293 


LePf. 


-ys    et     de  moi-mS    -   me^         il        ne  veutpasaudouxPrintemps  de-der  la     pla  -    ce 


294      N9  288.  ''The  Tsar's  Bride" 
N9  288.  „La  Fiancee  du  Tsar." 
l|24j  Agitato.  J= 136. 


>.  Pl.l. 


296 


jiaibienvul  Mer  veye  debeaute . . .  des:peuxsaper-be8,        oer>  tea  U  ^*- 


N?  289.  "Sadko" 

N9  289.  „Sadko." 

Larghetto.   J.  56. 


297 


N?  290.  "Sadko"  (p.  iso) 
N?29G.„Sadko"  (p.iso ) 
^  (Larghetto.  J.=  S6^ 


298 


m 


m 


r   f  7 


\a  I^a  Pr 


^^ 


^^^ 


£ 


=¥=¥: 


Sadko.  Ton         chant      le  -  ger  va      s'e  -  pnndre  sur        les     flots. 


^^ 


S 


& 


pip  P  P   P  p^ 


■=KiX 


Plei      -       n'j      d"^  -  toiles         ta     cein  -  tiire  e  -  blou  -  it  dans  la     nuit 


do^ce   (colla  voce) 


-^,hJ?^^- i 


-;>  ,h^  ^- 


&    '  t-^  f'r^-^    '  f— ^ 


N?  291.   i'Sadko!' 
N9  291.  „Sadko!' 
20^  (Allegro.  J.:  66.) 


299 


LaPr. 


poco  Crete. 


1^  r  r  f  r->  »J  I  i.-r  fill  I'll  ii   I  J  J  I  J  J  tf  ^1'    r  i 


Sadko^®^  ehants  ont       se  -  diiit     mou  coeur,         comme    ils  ont      ra    -    vi —  mon  ame.     oh 

'I'll  Tr  f  f-f  iJ  I  .'"r  F   I    II  fii  i>  J  \l_i±lAi^ 


j^»  r  r  <  r'f  «^  if'r  f  i    i  n> i  u^i^^^ 


V-le. 


Ta    beau-te se  -  duit    mou  coeur,  ta beau-te ra    -    vit_  raon  arae,    oh 


poeo  < 


300 


^ 


^^ 


i 


LaPr. 


XT 


¥^ 


bien     -      ai  -  me! 


Sadko. 


i 


te^* 


/fffZ. 


ten. 


bien     -      ai  -  me! 


N9  292.  "Sadkor 

N9  292.  „Sadko!' 

0*13181       Andantino.  i^r  104. 
,  Cl.  basso  (B) 


301 


Pau-vre      veii-ve,  je      suis  par    les        vents     bat  -    tue  et 


noy- 


-e  -  e    par     tou-tes    les       pluies   du —     ciel.  Oh,  je      suis  la   ri    -    se-e de 


tout      chre  -  tien,  la     ri    -     see       de         tous les        g-ens de Men- 


bf320] 

Lioubach 


802   '^  293.   ''The  Tsar's  Bride''  (p.  £69). 
N9  293.  „La  Fiancee  du  Tsar"  (p  i69). 

(Allegro.  J  >  120-182.) 

,  Cl.(3) 


tiJ  LL-LJ  l''C!££f^c^  r  Jlu  l''c!C£r^Dgj  ^ ' 


Cl.(B) 


p  i    t,,jff] 


Fag. 


/^li 


V'»    t     •'^•^XM 


Sopr.  e  Alti  mis,  oreso. 


U     J  .^'  )|J    «  Ji.    O 


^p^ 


■  ■ 


Sig"  -  nons-nous  tous, 
■  Basal. 


c'est    un         sor    -     oier! 


>j,AF-    j^Mr  i 


N 


Viol.I  e  U 


cresc~moito 


jfl^^jnjs 


^ 


cTMc.  mo//o 


i»  ertf»e.  mo/Zo 


N?  294.  "Ivan  the   Terrible,"  Act  I  (f.  in). 
N9  294.  „La  Pskovitaine'/M'acte   ip.ui). 
(Allegro.) 

Ob.c-a. 


303 


dim. 


304  N?  295.  "Sadko!' 
N?295.  „Sadko." 
(Allegro.  J  =  126.) 

Sadko.        [219 


Co   lebrousleshautes  voii  -  tes  du   fir-  ma-ment.  Ce-  lebrons  les  a  -  bi-  mesde   TO  -  c^-- 


Piii  animato.  J  =144. 


805 


CBoBurll.  Ce-le-bronsleshautesvoutes  du 

Ten.  Bassi. 


fir-mament.Ce-lebronslesa- bT-mesdelO    -    ce    - 


306 


N?  296.  "Ivan  the  Terrible"  Act  II. 
N9  296.  „La  Pskovitaine"  2™*  acte. 
(Allegro.) 


Pa  -  te     de- Pskov? 
|Sopr.I  diy. 


poco  cresc. 


Hein,         quoi? 


I-  If.   f  r  PPjpipfTn&fiF  f  r  POM 


ASoorlldiv  "*^         vo  -    yez: — vers  nous  sittJUi   fier coursiersvient  un     no      -       ble  pre 

|>  \f  iT~l&p  f  MP-  p&f  p  f  irn&f  p  f 


Mais  vo-yez 


versnoiissur  un     fier coiireiervientun      no 


blepreux  ve  -  tu 


Wi-tu   tfor bi&Iant.  (forbriUantmarcheunno-  ble preux  ve  -  \\i 


d'or      brillant,  e-olai- 


307 


'fa-Iv. "^°" "  ^^"^  /^^  "*" '  ^^^ '  ^^^ •   ^^  "'^  ho-tesbien  sou-vent  lesdi-sent      bon-nes! 


Fag. 


-lar  -  de!     Et  fort  bel-le;  doc    les  fil-les  i -ci,pous-sent  com- me  les  mo   •    rilles?  Chez 

1 8op>. • ■ -— — — — ^ 


-rsuit  leoiel  nu-a  -   geux     et       noirimaisil  a       fron-ce    ses  sour    - 


cils   e-pais 


308 


Fl.pioc 


I 


^^^^ 


=^^ 


=^= 


^ 


-f9^ 


-^^ 


=^2= 


-fg^ 


Ts.Iv. 


/?N 


/C\ 


V'    p-pppr  ^>r^ 


r*  -   I? 


g   p 


^ 

if  Pi-  -    I 


greanafoifl[uimporte?P)EUsnousvi-si    -     te, 
Sopr.I. 


et    tu  ver  -  ras  bien 


ta 


M 


•  F    •    F 


^ 


^S 


^^ 


r\ 


O  0 


^^ 


^ 


s 


^ 


Clair 


p 


so-leil,qiii  sur     nous  flaniboie,gloir^a 


Ifem  -  pe-reur,auter-ri   -    ble  Tsar! 


^ 


W 


:j^  r^r^   -^i 


^ 


t 


^ 


*^ 


'^'°'  iJTJ  rpJ^l 


^fe 


/TV 


^ 


nu  » 


SIO   jv?  297.  "Sadko"  (p.  157). 
N9297.  „Sadko"  (p.157). 

(Allegro  non  troppo.  j.:  112,) 

Paff.I. 


Alti    Cygnesblanosdansle^biiis-sons     en        fleur, 


dis-persezvousde  -  plo 


-yez     vos      ailes 


pour  oueil^lir    de  l^u  -  be  -  pi    -    ne      blanche,par  fu-mee  au  souffle  prin  -  ta  -   nier. 


311 


dolce 


LaR. 


^ 


pir  pr  PtHt'   r  r  p'r  p^^b 


rnon  bien  ai  -  me! 


0        mon  pre-  des  - ti  -  ne ! 


Sadko. 


^ 


pp  pr  »i^  ^ 


»-  ^  ji 


pr  pr  ^ 


Vier    -    ge-qiii  es  -  tu  done? 


Qui  es  -  tu,  ma  beaute? 


V-le. 


V-e.  I. 


dolce 
V-c.ne  C-b. 


312 


N9  298.  "Snegourotchka." 
N9  298.  „Sniegourotchka:' 


Et  toi ri  -   viere    auxflots    g:Ia-ces        et  cal 


mes, 


m\A  J .- 

^ 

^ 

1  J    J  J 

^ 

;    J JJ JJ  1      Mil, 

sw-" -^ — 

■*   -I  ■'  -^  •'  •>  J — j  J  |,J  J  J 

P^, 

•••J--J  -J-  J--J  ■ 

=^^^  — 

=^=^ 

— 

1    =:=pn  1  1      in — 1    1    1 

yi          ^ _     _   _   ^ 

^   V.le. 

WiM'  f  f  f  f  r  w  . 

1 — ^ d — "^ 

~T~1    1*    [>    iF 

■TB 

1         J        i       t4^.J— 1 1 1--      1         \        \ 

Uc.eC4). 

^-•m»-j       4   4    4  4  4 

Ob.  I 


313 


Sopr 


dors,         en   -    dors  ma  honte  et         raa  dou  -  Jeur 


Teii.  dans  ros    de  -    raeu-rea     pai-si  -    bles,     nos      fi)   -  les      it; 


rent      la    hon 


cresc.  poco 


Ob.  ^  poco  acceler. 


son      db-ses-poir        a     tous   nous  fait  pei    -    ne,      son    d^-ses-  poij*         a      tous     nousfalt   pel 


314 


N?  299.    ''Mlada/'  Act  IIL 
N?299.„Mlada{'  Snje  acte 

Andante. 


^m 


m 


£ 


Arpa  I.   p 


UJiJiJiJiUiJiJiJiJUJi^^ 


fiW  JJJJJ 


^^ 


jjjmj 


Arpa  n.  P 


'^%  rJjliJtLr  Ir.fT  ^JliJ^iLr  Ll^^ 


Viol.n.div. 


(eiur  scene) 


816 


316 

N9  300.   "Mladar       „       ,,        *  i^§=^^^B-:V 
N9300.  „Mlada!'        n^ufis'deP^est 


^^. 


N?  301.   "The  Legend  of  the  invisible  city  of  Kitesh." 
N9301.  „Leg-ende  de  la  ville  invisible  de  Kitejl* 

rci.i  ii.(b) 


317 


ppW ^ 

Sampane.    (boffuettes  a  tfite  d'eponge) 


w 


318     N?  302.  "Sadko'.' 
N9302.  „Sadk6" 


^  Ob.(Largo  maestoso.  J  =  62.) 


^- 


Roidesmers  tu  asohoi-si   maJ  ton  temps  pour    dan-ser!        Vols  la nier_  est  sens  des- 

IGANO. 


^ 


S 


3x: 


i 


«t 


W' 


gR=;^ 


^ 


:& 


K 


i 


s 


Pedale. 


*)Les  passa^s  en  petitea  notes  ne  sejouent  que  faute  d-un  or^e. 


fc 


-BUS — dessous- Elle  ren  -  ver    -     se  les  plus  forts vaisseauz.Ce  jour  in8-me     la   prin- 


aE 


% 


8  J     [8  J     ^ 


^ 


«i 


r — f^      _ 

legato  assai      J      J 


^^ 

S 


5E 


i 


i 
^^^ 


=&: 


-ces     -    setafille  i  •  ra  a  Nov(fo-rod         poury     de  ve-nir  unflexivelimpide.TV)i4«oen*umt«a 


gouf 


fre    noir.  Va    chan  -  ter"    en    ITion  -  near  de     tea        Nov    -    go-ro-diens. 


I 


N°  303.   "Sadko"  (p.378). 
N9303.  „Sadko"(p.3/8). 
y/ji'i  I.  Andante  non  troppo.  J  =  88. 


321 


322 


Et  "peutetre  au      ciel         Dieu    au  -    ra        pi-tie    du       nous;  — 


ra-me-nant  a        1"^     -     plo-ree  son   heu-reiixe     -    poux 


N?  304.  ''Sadkor 
N9304.  „Sadko'.' 

(Allegretto.  J.  =  73.) 


323 


324      NP  305.  '^The  Legend  of  the  invisible  dty  of  Kite$ht 
NO  305.  „Legende  de  la  ville  invisible  de  Kitej." 
(Moderato  e  maestoso.  j=60.) 


Vo  -  yez    les     oha  -  su  -  bles       blan 
LePr.Vsevolod. 


ches>      neig«  aux     ra  •  yons   du      so . 


Vo-yez    les    cha-su-bles       blan 
Le  PrYouri. 


ches^      neige  aux     ra  -  yona  du      so- 


Arpe.iy. 


^ 


leil    d'^A  -  vril,       qui  d'a  •  me-res  lar-mes     sont batgnees,    de  tor-rents  depleiu^,de. 


iM  r7  Tr  f'  I  r  £r  r  r*  >*  r? 


mj  frr^v  \  r  rr^  r 


#— ^ T-G^ 


»-1» 


r-'f  r  r  r  r 


leil    d'A  -  vril,       qui  d*a  -  me -res  lar-mes     sont       baignees^   de  tor.-rentsdepleurs,de 


^^ 


r  rr  ir'r  rf  ■)  ir  ^r  ^  ^^ 


m  0     rj 


^ 


i 


^ 


^^ 


^M 


m 


^m 


325 


■^pizz 


326 


Alk.        -    de  paix,        qui     sont         pr6 -pa-res  en   ee     lieu  pour  toi 


Uadol-       de  paix.        qui       sont        pre-pa-res         en  ce     lieu  pour  toi 


Le  Pr.Vs.te      ments       qui      sont         pre -pa-res         en   oe     lieu  pour  toi 


NP  306.  ''The  Golden  Cockerel'-  (p.35i> 
N9  306.  „Le  Coq  d'Or"  (p  351). 

''Andantino.  ^.=  96.) 


327 


328 
N9  307.   ''Sadko'i  (p.  210) 
N9  307.  „Sadko"  (p.2ioK 
(Allegro  non  troppo.  j=ii2.j 
Ob.  I. 


jl.i'  ^  J^ 


Cl.'B) 


O^i-4 


Fay-. 


^^^^^^ 


^^ 


^^ 


i 


i 


Cor.  P 


^ 


^ 


^^ 


Tr-be.(B) 


« 


F^^=^ 


Tr-bni.e  Tuba. 


1^^^^ 


-r 


No308.„Sadko"  .p228K 


Fl.picc.f 


i 


idr 


t=t* 


Ob. I. 


^^s 


Cl.picc.  (Es) 


m 


Cl.'Bi 


i  444  ^H 


F.^-  ;,^JTm 


*! 


T 


-r:  m  ^ 


■^ 


1S»^ 


|jit>r^/^j^i,;f^/rj^ 


r 


J^ JJJ  J  J 


T^ 


j^  '^p  ^  ^    ^   J^p  ^  ^    -tl 


Cor.  If 


m 


u     i 


Sopr. 


J>  ^  <        }>'' 


f= 


y^pi^p^ij)  j^^^^ 


.  jj-Mais  re-gar-dezdonc,  a  mes  bons       a-  mis 


$ 


!>"  V  ^  h  h  K  h  fv 


■  ■  ■ 


^ 


Ha-  ha-ha  -  ha-ha 


~,  jm.-n>i-ii.i.-ii.i-im 


Bassi. 


^S 


Ji  Ji  Ji  J'  ||  j>  Jv 


ha-  ha-ha-ha  -  ha  -  ha- 


rtfFTT 


^^ 


Re 
pizz. 


g-ar 


i 


^ 


Viol.-.         -'^ 
pizz. 


^w 


V-Ie. 


V-o. 


5/"    ^ 


^^ 


C-b 


y'  ^ 


^m 


^ 


N?  309.  "Ivan  the  Terrible"  (p.  lie). 
N9  309.  yLa  Pskovitaine"  (p.ii«). 
(Andante  sostenuto.) 


Or-donne<  o 


Alti.  ...--«....^<  w 

•''tc,  ~~^ 


mal  -  tre,    et     tous    tes 


1^   J'  ri    J' 


or-  dres    se-ront  sui 


^^5 


32» 


^ 


^  i^ 


j"-''!-!  i    v^i  P  g 


r   p   M   P 


P  P  P  P 


Bassi. 


Or-donnCi  o 


'Y\}\i  {■     (P  [^ 


mai  -  tre     et    toiis  •  tes 

-r  fi  p  p  p 


or-  dres    se-ront  sui 

r  t^  p  B  p 


330 


N?  310.   ''Ivan  the  Terrible"  (p.  in). 
N9  310.  „La  Pskovitaine"  (pii7). 


a  ^i, 


Fl.I.III. 


Nous  som  -  mes 


Bassi. 


s- 


^HKl  t     fp   ^ 


fai  -bles,  nous  vou-  Ions 


e   -    tre  giii-des    par 


p  fl  J-'  p  I  r   M^-JLf 


N9  311.   "Sadko"  (p.  44/;. 
N9  311.  „Sadko"  (p.44i). 
aFi     (Allegro  assai.  J.  168.) 


331 


Alti. 


U  -  ne 


lot  -  te 


tou  -  te    pe    -    ti    -    te   na-geait,  s"a-mu  -  sant     a   tra- 


332 


N?  312.   ''Ivan  the  Terrible;'  Act  lU  (the  end). 
N9312.  „La  PskovitaineV  8^«  acte  (fin). 

(Andante  maestoso.) 


333 


Appendix.  Single  tutti  chords. 

Appendice.    Accords  isoles  en  tutti 
1. 

,Fl.picc.  2-     ii         3.  4.  5, 


6. 


J\e  MoflfiglU 
p.»i6. 


La  Null de  Mai. 

p  3U 


TkeTmr^ 
Bride, 
f.i46. 

La.  Fiaii  - 
cee   du 
Tsar  p  2*5 


TkeTuri 
Bride, 
f.i$9. 
La  Fian- 
cee  du 
T^ar,  ?  2»8 


Tie  r*ar* 
Bride, 
p.  301. 

La  Fian- 
cee du  • 
Tsar,  p.soi 


The  Taari  Bride, 
the  end 


Snegourvlchka, 
p.  S9J. 


Tk*  L4gt*d  of  the  m- 

vinble  eitp  of  KiieA, 

f.375. 

Le^ende  de  la 
ville   invisible 
de  Kitej,  p.87S. 


La  Fiancee        •  Sniegouroteh- 
du  Tsar,  I  ka,    p.a»*- 

ffn. 
NOTK.IhesediagramM  mr*  given  in  tewtikrwe:  They  do  not  inelnde  perciution  itutrument*  of  indtterminMie  mmnd  or 

the  human  voice 
PJOTA.  Ces  exemples  sont  donnes  sous  forme  demi-sehematique,  en  rondes.  lis  ne  comportent  ni  les 
instruments  de  percussion  a  sons  inddterminesi  ni  les  voix  humaineu.  I 


II 


ff 

Ivan  the  Terrible, 
p.  307. 

La  Pskovitaine 

p.    207. 


Tk»  Tfar'a 
Bride, 

end  ofoverturt. 

La  Fiancee 

du  Tsar, 
fin  de  I'ouver- 
ture- 


The 
(he  intrisibfe 

city  of  KHesh, 

the  end. 
Legende  de 
la  villeimi- 
sible  de  Ki- 
tej,    fin. 


PV 

The  Christmas 
Night, 

p.  SSI 

La  Nuit 
de  Noel, 

p. 381. 


fff 

Snegourotckka, 
the  end. 


Snieproiirotrhka^ 
fin. 


Sadko 
the  ena. 


Sadko, 

fl:l. 


fff 

^hi  Legend  of 
Tsar  Saltan, 

p.  in 

Legeude  du 
Tsar  Saltan, 

p   117 


ff 

Servilia, 
the  end.  ■ 


Seivilia. 
fin. 


CATALOGUE—SUMMER,    1933 
KALMUS  MINIATURE  ORCHESTRA  SCORES 


BACH 

No.  72,  Suite  No.  2,  in  B  minor 

BEETHOVEN 

No.    1,  Symphony  No.  1,  op.  21 
No.    2,  Symphony  No.  2,  op.  36 
No.    3,  Symphony  No.  3  op.  55  (Eroica) 
No.    4,  Symphony  No.  4,  op.  60 
No.    5,  Symphony  No.  5,  op.  67 
No.    6,  Symphony  No.  6,  op.  68  (Pastorale; 
No.    7,  Symphony  No.  7,  op.  92 
No.    8,  Svmphony  No.  8,  op.  93 
No.  57,  Symphony  No.  9,  op.  125  (Choral) 
No.    9,  Leonore  No.  3,  Overture,  op.  72a 
No.  10,  Prometheus,  Overture,  op.  42 
No.  11,  Coriolanus,  Overture,  op.  62 
No.  67,  Epmont,  Overture,  op.  84 
No.  91,  92,  93,   Symphonies  1  to  9  complete, 
bound  in  halt  linen,  in  3  voliunes 

BIZET 

No.  88,  Carmen,  Overture 

No.  89,  Carmen,  3  Intermezzi 
BORODINE 

No.  68,  Polovetzjan  pances.  Prince  Igor 
BRAHMS 

No.  12,  Symphony  No.  1,  op.  68 

No.  14,  Symphony  No.  2,  op.  73 

No.  IS,  Symphony  No.  3,  op.  90 

No.  16,  Symphony  No.  4,  op.  98 

No.  86,  Acaclemic  Festival  Overture,  op.  80 

No.  94,  Sympboniei  complete,  botind  in  half 
linen 
CHABRIER 

No.  61,  Espafia,  Rhapsody 

DEBUSSY* 

No.  17,  Afternoon  of  a  Faun 

No.  73,  String  Quartet 
DVORAK* 

No.  18,  New  World  symphony,  No.  5,  op.  95 

No,  90,  String  Quartet,  op.  96  (American; 

DUKAS* 

No.  65,  The  Sorcerer's  Apprentice 
FRANCK 

No.  19,  Symphony  in  D  minor 
GRIEG* 

No.  20,  Peer  Gynt  Suite,  No.  1 
HAYDN 

No.  23,  Symphony  No.  11,  in  G  major 
(Militaire) 

No.  24,  Symphony  No.  2,  in  D  major  (London) 

No.  25,  Symphony  No.  6,  in  G  major 
(Surprise) 
IPPOLITOW-IWANOW* 

No.  26,  Caucasian  Sketches 
LISZT 

No.  29,  Les  Preludes 

No.  62,  Second  Hungarian  Rhapsody 

MENDELSSOHN 

No.  30,  Midsummer  Night's  Dream, 

Overture 
No.  31,  Hebrides  (Fingal's  Cave),  Overture 
No.  32,  Wedding  March 
No.  81,  Three  Orchestra  pieces  from 

Midsummer  Night's  Dream 

THIS  COLLECTION  IS 


MOZART 

No.  33,  Symphony  No.  39,  in  E  flat,  K  543 

No.  34,  Symphony  No.  40,  in  G  minor,  K  SSO 

No.  35,  Symphony  No.  41,  in  C  major      ■ 
(Jupiter),  K  551 

No.  69,  Don  Juan,  Overture,  K  492 

No.  70,  Marriage  of  Figaro,  Overture,  K  492 

No.  71,  Magic  Flute,  Overture,  K  620 

No.  80,  Serenade,  Kleine  Nachtrausik,  K  525 
MUSSORGSKY 

No.  83,  Polonaise  from  Boris  Godunow 
RIMSKY-KORSAKOFF* 

No.  36,  Cappriccio  Espa'gnol,  op.  34 

No.  63,  Dance  of  the  Buffoons  from  "The 
Snow-Maiden" 

No.  n.  Flight  of  the  Bumble-Bee  from  "Tsar 
Saltan" 

No.  80,  Scheherazade,  op.  35 

No.  87,  Russian  Easter,  Overture,  cm.  36 
ROSSINI 

No.  37,  William  Tell.  Overture 
ST.  SAENS* 

No.  85,  Danse  Macabre,  op.  40 

No.  86,  Omphale's  Spinning  Wheel,  op.  31 
SCHUBERT 

No.  38,  Symphony  No.  8  (Unfinished) 

No.  39,  Rosamunde  Overture 
STRAUSS.  RICHARD* 
tNo.  40,  Till  Eulenspiegel,  op.  28 
tNo.  75,  Death  and  Transfiguration,  op.  24 
tNo.  76,  Don  Juan.  op.   20 
STRAWINSKY* 

No.  40,  Fire-Bird  Suite 

No.  78,  Sacre  du  Printemps 

No.  79,  Petroushka 
TSCHAIKOWSKY 

No.  58,  Symphony  No.  4,  in  F  minor,  op.  36 

No.  59,  Symphony  No.  5,  in  E  minor,  op.  64 

No.  60,  Symphony  No.  6,  in  B  minor,  op.  74 
(Pathetique) 

No.  95,  Symphonies   4,   5,    6  complete,   bound 
in  half  linen 

No.  42,  Nutcracker  Suite,  op.  71 

No.  43,  Marche  Slave,  op.  31 

No.  44,  Cappriccio  Italien,  op.  45 

No.  45,  Overture  1812,  op.  49 

No.  74,  Romeo  &  Juliet,  Overture,  Fantasy 
THOMAS 

No.  64,  Mignon,  Overture 
WAGNER 

Overtures  and  Preludes 

No.  46,  Lohengrin 

No.  47,  Tannhauser 

No.  48,  Tristan  and  Isolde 

No.  49,  Meistersinyfcr 

Miscellaneous 

Na  SO,  Ride  of  the  Valkyries 

No.  51,  Wotans  Farewell  and  Fire  Magic 

No.  52,  Siegfried  Idyll 

No.  53  , Siegfried's  Rhine  Journey 

No.  66,  Bacchanale  (Venusberg)  from 
Tannhauser 
WEBER 

No.  54,  Oberon  Overture 

No.  55,  Euryanthe  Overture 

No.  56,  Freischuetz  Overture 

BEING  CONTINUED 


E.  F.  Kalmus  Orchestra  Scores,  Inc.,  209  West  57th  Street,  New  York 

•  This  copy  must  not  be  sold  outside  of  the  United  States. 

t  These  scores  do  not  have  to  be  turned  upside  down  wtien  rcadinp,  as  they  are  larger  than  usual  size. 


1 


,^OUNO^ 


fm 


